Review of Rocketman (2019) by Markhreviews — 15 Jun 2019

It’s impossible to watch “Rocketman” without comparing it to Director Dexter Fletcher’s previous effort, “Bohemian Rhapsody.” (Fletcher was brought in to clean up that hot mess after original Director Bryan Singer “parted ways” with the show.) “Rocketman” compares favorably in every way. As Elton John, Taron Edgerton does his own very serviceable interpretation of one of the best-known voices of the last half century – a refreshing contrast to the “amalgamation” of voices used when Freddie Mercury sings in “Bohemian Rhapsody.” Where Mercury’s homosexuality was shrouded and underplayed to the point of ambiguity, John’s is quite direct. While “Bohemian Rhapsody” creates the false impression of being historically accurate, “Rocketman” conveys from the outset that it will be impressionistic, fanciful and fantastic (in every sense). Ironically, “Rocketman” is the more honest of the two films. After focusing initially on Reggie Dwight/Elton John’s early home life, particularly his problematic relationships with both parents, the action centers on his early career, backing up American soul acts as they toured in the UK, meeting and beginning to work with lyricist Bernie Taupin (an appealing Jamie Bell), his meteoric rise following a much-acclaimed performance at The Troubadour in LA in August, 1970, and his quick descent into booze, drugs and a smorgasbord of other addictions.

This film is a tribute to Elton John’s long-time friendship with Bernie Taupin. While family members and assorted hangers-on are a regular source of disappointment, “Rocketman” reveals Taupin as the most steadfast of friends. In a nice bit of symbolism, John and Taupin co-authored the new song “(I’m Gonna) Love Me Again” to serve as “Rocketman’s” closing number. The song is a duet between John and actor Edgerton.

“Rocketman” also is a meditation on love, using John’s travails to demonstrate that, before you can receive healthy, enduring love from others, you have to love yourself. This theme is foreshadowed in Taupin’s 2001 lyric: “I want love, but it’s impossible. A man like me, so irresponsible…”.

Lee Hall (who wrote the screenplays for the Billy Elliott film and musical) has crafted a script where the songs are a focal point but also are much more integrated into the arc of the story than the typical musical fashioned from a prominent performer’s song book (I’m looking at you Abba – “Mama Mia, here I go again, My, my, how can I resist ya?” Not that hard, it turns out). Twenty-one John/Taupin songs appear in “Rocketman.” “Rocketman” concludes with a strutting, triumphant rendition of “I’m Still Standing.” In the closing credits we learn that John is now 28 years sober. If you attend expecting this film to be a gauzy, frivolous, irrationally upbeat musical, you’ll leave disappointed. On the other hand, if you’re open to experiencing a film that offers an honest, sometimes painful, account of a star who often felt that he was “burning out his fuse up here alone,” you’ll be richly rewarded.