We Will, We Will Rock You

In my recollection, there has never been an Academy Award Best Picture nominee as contentious as this year’s Bohemian Rhapsody. With issues arising from the onset (supposed disputes during production leading to the film’s director, Bryan Singer, being replaced – Dexter Fletcher took over about two thirds of the way through, though Singer still holds the credit of director), it has since received mixed reviews from critics (with a measly 62% fresh rating on Rotten Tomatoes – extremely low for a Best Picture nominee), yet has been a huge box office success (already having earned over 800 million dollars, most fans have loved it, though there are a vocal group of naysayers). . . the most recent twist – the movie surprisingly took home Best Motion Picture – Drama at the Golden Globes, placing it in a rather intriguing position leading into the upcoming Oscars. A last note, a scene from the film with rather excessive editing has been spreading around the internet (look it up to get an idea of some peoples’ thoughts).

The tale of the iconic rock band Queen, the narrative begins all the way back in 1970, wrapping at the band’s Live Aid performance in 1985. The biopic delves into all of the areas one would expect. . . the formation of the group, consisting of singer Freddie Mercury (Rami Malek), guitarist Brian May (Gwilym Lee), bassist John Deacon (Joseph Mazzello), and drummer Roger Taylor (Ben Hardy), their unique and unified way of making music, their dealings with their manager, John Reid (Aidan Gillen), lawyer, Jim Beach (Tom Hollander), record executive (Mike Myers – a nice casting touch, considering the classic Bohemian Rhapsody scene found in Wayne’s World), as well as groupies, their meteoric rise, subsequent trials and tribulations, and of course, the love that grows and fades, as well as the hate and disdain that builds up over the years (after all, what do you expect when rock star egos are involved?).

There is also Mercury’s love life, a kindred spirit in Mary Austin (Lucy Boynton) – an anchor for the lonely singer (you could easily call her his soul mate); a relationship with the band’s day to day manager, Paul Prenter (Allen Leech) – a man the rest of the band does not like; also, a chance meeting with a waiter, Jim Hutton (Aaron McCusker) – falling immediately for the man; each playing a major part, be it good or bad, in shaping the singer (feeding his love, hate, reclusiveness, sexuality, creativity, hopes, and dreams).

But of course, the most pressing question is, which perspective brought up in the first paragraph is accurate? The film falls somewhere in the middle, a fun, wholly enjoyable nostalgic ride back in time (filled with some of the best rock music you will hear) that is sadly missing some bite. Think of it as a music video, chock full of striking lighting, eccentric costumes, excellent music, and tantalising visuals, yet it never really delves into the inner depths of who the band were. Mercury is a male diva with a voice of gold, a sadness hidden just below the surface. . . yet we never truly get to see what it is that makes him thus (though he is from a foreign conservative family and is struggling with his sexuality, these topics are never adequately explored) – for a man who lived a debauched, ultra-liberal life (Mercury once said, “Also, I have visions of actually having a film made of my life story, one day, which I would have a key part in. I might not play the lead myself. My dears, the things I’ve done in my lifetime. . . it’ll be totally X-rated, I’ll tell you.”), the filmmakers pussyfoot around the subject, providing only very subtle hints (and a sole f bomb – highly implausible) – some early Disney movies were edgier than this.

Likewise, some of the historical inaccuracies could be called creative license, but even they may have pushed it too far – for when the climax arrives, everyone is looking at Mercury in awe, expecting him to drop dead any second as they perform at Live Aid (his secret never having been revealed to most of the people who have those looks on their faces, ironic considering he would not receive the new of his illness until 1987). . . while they make it seem as though it was Queen’s last performance – the band would tour the following year.

Yet, this is not to suggest that there is not much to like in this flick. Malek gives a powerhouse performance (even if his vocals are mixed with Marc Martel and Freddie’s own in order to avoid any mercurial changes), the man mastering the icon’s British accent, capturing his impressive stage presence, perfectly depicting his flamboyant attitude, exuding his confidence and loneliness. My only complaint would be the overly large prosthetic teeth made for the actor – they are so big, it almost seems like this is supposed to be an Austin Powers-like spoof of Freddie Mercury rather than a biopic (though, of course, this is not Malek’s fault). Supporting roles are equally solid, if underdeveloped. There is also a cheeky, dry British humour throughout (like when a reporter asks the singer why he hasn’t had his teeth fixed, to which he replies, “I live in Britain. I don’t want to stand out.”)

A likeable, if conventionally safe picture (unlike, for example, The Doors biopic), Bohemian Rhapsody is definitely worth checking out this Awards season. A final worthy note, 20th Century Fox’s introduction at the beginning of the movie is rockafied by Queen’s own Brian May and Roger Taylor – a really cool touch. So, don’t feel under pressure, find somebody to love, grab them and go see this movie about killer Queen. . . I really should end this review, but please don’t stop me now, I’m having such a good time, I’m having a ball. . . and like a flash, I’m done!