'Rocketman - In 1 Word Or 2'

As they might say on the shipping forecast, fair warning. This could be long. As you can see below I've sub divided it up in to separate sections to closely examine various strands of the movie. I think it's only right to do so seeing as the film makers themselves have put great care in to realising their own detailed ideas.

First off we'll take a look at the film itself, it's not going to be a complete retelling of it. Then we'll strip back some key elements and expand on them whilst at all times stressing their relevance to the film.

I've Not Seen This Movie Too

The film opens with the 1990 version of Elton like a beached whale struggling to find his way back with a set of on onlookers just gaping at him as he wrestles with himself. Suddenly we're whisked back to 1950's English suburbia, houses claustrophobically paired together. Dotted with the finest cars of the day offered by BMC, Ford and Standard. The way they've used 'The Bitch Is Back' as a duet of prodigy Reg and podgy Elton really sets the standard and tone as to how they're going to take us on the journey. The 'how' is important, very important, as we shall see.

The pace of the film even at this stage has been very well moderated. And will continue to be so. The opening domestic situation of young Reg conveys humour, anger, sadness with none of those emotions, or others, stealing the limelight. The 'kitchen sink' scenario, particularly with each parent, are laid out honestly and will become a recurring theme throughout. The use of the music and the way it's used does capture the imagination. Taking songs and using them in historical situations, almost retrofitting them, long before they were ever written on first look sounds like a recipe for disaster. But it has to be seen to fully convey how powerfully they are used in the way they've cooked them up. 'I Want Love' as a multi person tool to express inner turmoils should knock one over. But don't get up. You will be knocked over again. Briefly demonstrating in a few lyrics what hours of dialogue may never achieve against a backdrop of the staid late 50's, early 60's period. Again in order to mix things up, not merely for the sake of it (it's a critical point of the story transition) an 'Eastenders' meets 'Bollywood' collision occurs with a cast of 'Teds', 'Mods' and 'Rockers' all oddly out on a Saturday Night. Fighting.

At this stage in you can really come to terms with the period detailing. It's beautifully filmed, none of this blue/grey nonsense that has infected too many dramas in recent times. As we see later they've set up simple contrast techniques for example like Elton and Bernie driving around London in a Series 1 Landrover whereas later on somebody else will drive them. But not in a Landy!

The Dick James interview (which garnered great laughs in the auditorium) and the meeting with Bernie really gathers pace here. Developing new relationships and then burning out the fuses of older ones is another key undertone of the narrative. Suddenly writing hits, as you do, going to America with all of its colour, razzmatazz and sunshine, as you do. Swap a Cortina for a Camaro, as you do. 

The Troubadour scene I'm sure has stirred up much debate. We know it's wrong historically. But reference what I said earlier. Using certain songs in specific places to hammer home a point quickly and decisively is why they've used ‘Crocodile Rock’ here. Suspend disbelief for a minute or two. Or is that the floor dropping down or the ceiling getting closer...

Sometimes you gotta exaggerate a point to make a point.

John Reid appears around this time and the 'gentlemen and gentlemen' scene is handled very tastefully, dare I say Piloted with a steady joy stick. Elton's inner turmoil’s however have no such careful hand and whilst playing them out either in front of a mirror or on stage a hypnotic, almost gyroscopic 'Pinball Wizard' with more costume changes than, eh, Elton spins your head to almost the point you require exorcising. A merry go round of endless attempts to better the last attempt. Whether it be costumes, the next song or trying to end it all. A dreamlike underwater scene and the ‘Hands of Angels’ segue in to The Dodger stadium cauldron whilst brief is visually tumescent. An enormously reimagined, expansive ‘Rocket Man’ carries Elton on a musical sedan chair propelled to be last seen zooming skywards where he lands in the bosom of the Starship. But it's not a warm bosom, it's vacant with an empty stare.

An ongoing theme that we see played out Coldly, like Christmas as the 80's appear, white piano and all. The marriage to Renate can be best summed up like a Pinter play. Everyday actions with long boring periods of pregnant pauses of silence. And everyone unhappy. The discussions surrounding the downward spiral of the 80's is played out in some upmarket restaurant where Elton disposes with those around him whilst taking everything from the menu. ‘Bennie’ plays as hedoism is conveyed as being weird but not wonderful.

The final scene is like one from pen of a master playwright with this time Christie traits. It has all the main characters assemble back in rehab to accuse and be accused. Unlike Christie, nobody dies. Indeed Elton does Still Stand. And what they did with the interpretation of the video, well you’ll have to stay to the end.

As we all have done.

Verdict Of Love

So what's the verdict?! Can't you guess?! It's an incredible film. Honestly now, the buzz after only a few minutes was palpable. The buzz was a buzzin'. Trying to condense so much in to such a short space of time is like trying to put the toothpaste back in to the tube. The use of the music is critical. As you would expect. I didn't find the unorthodox chronology of the placing of the songs to be anything to worry about. In fact it's clever, touching and funny (in the right way). I must stress again that on paper it sounds bizzare but trust me, it works a treat. Corralling so many songs, and there are some very diverse choices, from the DJM era to right now and make them work to colour the narrative comes across as the most natural thing in the world. They still have something new and different to say.

When the film was first announced I had visions of it lying on a hinterland, out there, over there, somewhere between a lost episode of 'Stars In Their Eyes', an endless nightmare loop of that appalling 'Carpool Karaoke' and a lost late entry Carry On film, possibly between Carry On England and Carry On Emmanuelle. An amalgam of Armageddon proportions.

Also you wondered if characterisations would be tempered or altered to a great degree. We can only speculate having met never any of them in real life. I will expand further on that later. We all remember reading the Philip Norman book nearly 30 years ago which was a great primer to further the exploration of Elton. Deciphering the art and the artist never mind separating them can, and almost inevitably, be impossible. As somebody asked Telly Savalas once what was the difference between him and Kojak 'Who loves ya baby' (one there for the kids) he replied 'apples and apple pie.' If it's merely crust we can at least try to cut through it.

Sung and Spoken By The Leading Man

To be honest I'm not really familiar with Taron’s work. I'm not sure I've seen him in anything. Without going off on some great big spiel, he is extraordinary. Homework done and marked by the teacher. Catching all of Elton's nuances is like catching sunlight, but overstatement or understatement are two extremes or traps not seen. It would have been easy to inject clichés of campiness interjected with endless tantrums for quick thrills. And cheap laughs. The thrills are authentic and the laughs realistic. I didn't know Dick James had such a colourful vocabulary.

He may not sound entirely 'like' Elton (though he has the look), but delivers an Elton 'like' performance. Everything is left on stage. Guts. Sweat. Blood. Tears.  And other bodily fluids not fit for mention on a daytime blog. That reminds me, milk bottles were great, weren't they? He draws you in emotionally; at times you want to hug Elton. Of which he gets. Occasionally you want to give him a 'Glasgow kiss'. Of which he gets. A real one in fact. The complexity of Elton's character does permeate through his music, you can see how his brain is wired differently, approaching things at an oblique angle.

I can safely say there's no 'Tonight Matthew, I’m going to be…' moment...

Support From The Rest Of The Friends

As hinted at earlier the supporting characters are depicted as Elton wants us to know them. Interpretation again must be mentioned. It's part of an editorial device used in the film to condense a gargantuan mountain of information and experiences. For instance we weren’t at the dinner table in Pinner so we must go along with the makers best judgment. By putting Bernie's character in such a fore frontal position, a really strong character that Elton can play off on screen as in real life, was only to be expected. And to be required. I'm sure the likes of John Reid, those connected with Dick James and others will find areas of dispute. But again it's a Hollywood device of longstanding. Usually those who are dead are either softened or hardened depending on what direction the narrative is to take overall or just for one separate scene. There's plenty of sources for research if one wishes to put some gloss on the primer. Broad brush strokes in to tight corners can lead to some messy overspills.

We see the characters that are the glues of different kinds to Elton. They may not bond with each other but find a natural matting surface with Elton. But in some ways the glue never fully cures, inevitably leading to friction when they rub off each other. Refer back to the closing scene in the rehab. It could have gone all a bit 'Jeremy Kyle', perish the thought, but rather than focusing on the what 'if' they focus instead on the what 'is'. Which is far more beneficial for those all round.

 

It's Easier To Have Those Songs Around

Taron's singing and playing doesn't need to be of Elton's standard, after all it is only a film. But through strength of conviction he's goes beyond making you believe he's Elton. Because of the belief which he rightfully earns he gives credibility without having to resort to an endless parade of outrageous costumes and no substance behind it. The soundtrack album faithfully transposes the film's entire musical content. And broadly expands it. Whether it be a composing, a demo or a recording or live performance they give a vibrant, reinvigorated authentic slant. Carefully and expertly reworked versions by Giles Martin cut a fine balance between the originals and the need for them to fit snugly as when they're called upon. The orchestral reworkings in particular are manicured to a high degree. As my dad told me many years ago one of the reasons he considered Lennon/McCartney to be one of the greatest modern day composers was there songs could be played by the finest orchestras of the world without any hint of artistic degradation. That whistle test is passed here.

They Spilt The Band

For me anyway the omission of any mention of the band or musical 'helpers' is a glaring hole. Even though Kiki appears in it, via some convoluted time slip mind you, even brief references would have added some nice dressing around the edges. I know 'why' they did it but I also know 'why' it didn't have to be that way. But if you have a sharp ear, or even a blunt one, you will hear references in the soundtrack that are reverential nods to the right people. Though in saying that a blonde guitarist, a double bass drum kit and a percussionist with an endless ‘arRay’ of instruments appear periodically. I know, we know, they know, you know.

And In The End

We've read and seen so many accounts of the landmark Elton moments. We sometimes think we've all been there, at least in our minds eye. We have our own ideas of they played out. Who knew the Troubadour was that big?! The film makers have taken that cue and presented people, places, events and their causes and effects. I suppose they could have done a straight forward story piece but that wouldn’t have been much fun, would it?

Some dots may be missing and some lines are at undignified angles. But the film still draws a recognizable Picture. A Big one. And as a man of Steel(e) (no, not that one) once sang, 'oh what a picture'.

By the way, Rocket Man will always be two words. Of two people. To me anyway...