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In nostalgic times, there is no boring kinogenre than the biopic of the superstar. Other kinds of movies follow the conventions, but they usually offer the possibility of experimentations and reinterpretations. But when the cinema pays tribute to the icons of pop culture, the law of the lowest common denominator prevails. The success of monument productions depends on the popularity of the majority of supporters, who wants neither unadorned truths nor new perspectives, but of course, the reinforcement of endorphin: the youth heroes must resurrect and show their greatest hits.
Nobody should be surprised that "Bohemian Rhapsody", the Hollywood bow of the queen of the British glam-rock giant, barely makes narrative adventures. However, the same criticism remains just as bland as the stereotypical nature of these similar pop apotheoses: after all, it is already known in advance that what is proposed will follow familiar patterns; Therefore, the focus on special features seems more exciting.
For "Bohemian Rhapsody", it's mainly the main character. You can smooth Freddie Mercury as much as you want, you can hide his chasms and bury his excesses, it does not change his exceptional rock star character and biopic protagonist: a gay born in Zanzibar, resident of the Parsian family, against Probability to Rampensau, the singer of one of the most successful groups, to skyrocket and with flamboyance and falsetto voices, scenes faltering in ecstasy.
First project: Sacha Baron Cohen
It is played by Rami Malek, an American of Egyptian descent, who mainly played the main character of the series of hackers "Mr. Robot" The laurels harvested. Originally, the British comedian Sacha Baron Cohen should have badumed this role – an original idea, but too risky from the point of view of the producer; Cohen's picture as a brachial satirist would have been cut with the Aura Mercury.
"Not with these teeth!"
Malek is a relatively virgin slate. This should change after his Mercury performance. It increases with a false overbite, changing hairstyles, a numerically plastered voice, and an almost maniacal devotion in the figure of the eccentric singer inside, sometimes at the border of an exaggerated imitation, but remains up to # At the last point of energetic anchoring of the film.
In the life of Mercury, Farrokh Bulsara gives only brief observations. At first, you see young Freddy in Heathrow dragging baggage, bigoted colleagues scold him "Paki", strict parents require quick planning for the future. But he has long since developed a rebellious tendency. Charming prepotent, he is the new singer of the band without singer Smile. "Not with those teeth," he says, as Mercury takes out his socks from the jury and thinks additional incisors would increase the range. Purchased!
"Galilei", "Figaro", again and again
From that moment, everything is in a hurry with starry percussions, a broad band and a chronologically limited story. One can be there when Mercury raises its microphone in an early appearance, the birth of a later brand. Do not miss the emergence of the eponymous anthem, the countless recordings "Galileos" and "Figaros" are tasted with humor. In the studio scenes, Queen appears in a family of playful bands, the guitarist Brian May and the drummer Roger Taylor have had their say in the film and behave accordingly with sympathy – but the limelight belongs to the star.
Self-fulfillment and Mercury's quest for (badual) identity provide the central suspense – even more than her musician career – not so trivial for a blockbuster of this magnitude. In the morning, the singer falls in love with Mary Austin (Lucy Boynton), but during a tour of the United States, handsome truckers give him a good look. Soon he confesses, "I think I'm bibadual." She answers, "You're gay." And at some point, he is willing to accept that.
The story is reminiscent of director Bryan Singer, who is himself an advocate for LGBT rights and one of the main protagonists of "X-Men" films about foreign superheroes whose motto is "Mutant and Proud ". Due to an allegation of rape – or for private reasons, according to the opinion – Singer was removed from the public during filming and was later fired by his producers. However, his replacement, Dexter Fletcher, could not dispute his appointment as director of the credits.
At the end: Live Aid, rebuilt
The authorship of individual scenes can not be determined. Whatever the case may be, Mercury is fighting for its extravagant stage character to turn into an authentic everyday personality. Dubios, on the other hand, how his isolation and alienation from members of the group in the 1980s badociated with the pursuit of his baduality, the leather scene and the AIDS epidemic.
No worries: in the end, Cinema Queen will be on stage and will meticulously interpret its legendary live-aid appearance from 1985. It sounds a bit artificial compared to the original YouTube viewer, with a computer-animated crowd. but it's enough to sing.
("Die Presse", printed edition, 03.11.2018)
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