Review of Rocketman (2019) by Isaacj — 17 Jun 2019

Last year’s Oscar-winning Queen medley Bohemian Rhapsody certainly proved that the tried and tested musical biopic is still a favoured subgenre among audiences, blending the highs and lows of artist’s lives with all their greatest hits. Rhapsody’s quasi-director, Dexter Fletcher takes on another charismatic and troubled figure in Rocketman, an ode to the song-writing legend that is Elton John. Fletcher’s film is a fervid breath of fresh air on the biopic scene, a moving and undeniably feel-good flick that takes a look at the height of Elton’s turbulent career. Rocketman is not your straight biopic by any means; first and foremost, it’s an unashamed musical that dismisses the chronology of Elton’s music for a smartly crafted jukebox soundtrack of some of the singer’s most memorable tunes. The form of Rocketman is a stroke of genius from Dexter Fletcher; gone are the limits of factuality and linear storytelling, in favour of time-jumping and metaphors… all complete with the Elton-esque pizazz of a modern musical. From the beginning, Rocketman sets itself out from the crowd and the ride that follows is a gripping tale of love, talent and the tempestuous nature of fame.

Perhaps the greatest asset lies in a brilliant central performance from Taron Egerton. Where Rami Malek’s Freddie Mercury was a remarkable turn in impressionism, Egerton’s portrayal of Elton is an altogether meatier performance full of unbridled charisma and nuance. It is said that the film’s subject himself requested that Egerton refrain from an impersonation and instead play “his own version” of Elton John; this certainly comes through in Egerton’s role, less of an impression but still a masterful turn from the actor, who simply engulfs the part. The supporting cast here is strong too; Jamie Bell’s Bernie Taupin is a heartfelt performance and Bryce Dallas Howard is unrecognisably nasty as Elton’s distant mother. Richard Madden’s portrayal of the star’s manager and lover John Reid is a little predictably ‘boo-hiss’, but this is masked by some other delightful appearances (Stephen Graham briefly steals the show by practically chewing the scenery in the first third).

Dexter Fletcher casts a smooth hand over the production, proving himself to be a sure maestro of the musical genre. Though perhaps some songs could have been more suitably placed, there are some gorgeous moments that really make use of both the energy and heart of Elton’s music; a rendition of ‘Your Song’ sung solo by Egerton at the piano is slow and goose bump-worthy whereas the ‘Saturday Night’s Alright’ sequence early on in the film is a joyous burst of colour and choreography. It is of course well known that much of John’s career wasn’t all blissful song and dance; Rocketman takes its time to reflect on the issues of substance abuse and sexuality, often in a thoughtful and compassionate way. The film certainly doesn’t hide away from the flaws of its subject… and it is in Elton’s many faults that the most impactful moments appear. While most of it is expertly paced, the final third suffers a little from a meandering focus, becoming a slightly repetitive chorus of psychedelic escapades and impassioned arguments that certainly takes the scenic route towards what ends up being a pleasing, if slightly cheesy conclusion. In the end, however, there is so much that is excellent about Rocketman that makes up for its problems. It is not necessarily revolutionary (certainly not in its story) yet still manages to give its own flavour to the often placid biopic, using the music of its star not just as a plot aspect but as a structural device that really makes everything tick. Rocketman is an honest depiction of fame, both of its hardships and triumphs; it may not be all smooth sailing (with Elton’s life and the film itself), but Fletcher puts forward a vigorously entertaining piece of work, bolstered by an outstanding Taron Egerton. If nothing else, you’ll appreciate the mesmerising musicality of it all.