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Mamma mia is Freddie Mercury at the movies. After a thousand productive problems, including the dismissal of the director Bryan Singer (harbadment of a minor) and abandonment of Sacha Baron Cohen (originally the absolute protagonist), Bohemian Rhapsody, the biopic on Mercury and Queen will be released in Italian theaters on November 29th. And if in the United States after three weeks the 127 million collections lead him to be the second biopic on the most-watched musical character of all time (The first is Straight Outta Compton on the NWA, the third I scroll the line on Johnny Cash), Bohemian Rhapsody is one of those movies that tickle the fans, but who go out of their way to silence the critics.
Meanwhile, at the center of the speech, for more than two hours, more than Freddie, there is the "family" of the queen, and more than the queen, there is the performance of the group and Freddie at Live Aid organized by Bob Geldof at Wembley Stadium on July 13, 1985. It is to say that the tension of the work seems to aim to reach and show this performance effort up to the prologue. The wait for the event, the clamor of the Queen slot machine that made history of music because on this stage in front of 100,000 spectators, Mercury, May & Co. are unstoppable. Tip and head.
Frank Bulsara, son of Zoroastrian immigrants from Zanzibar, unloads suitcases at Heatrow. We are in 1970 in Feltham, in the western suburbs of London. Some jokes in the living room (and already highlight the fact that Freddie never shows up to the girls' parents …) and takes us backstage at a Smile mini concert, Brian May and Roger Taylor (John Deacon will come later) ). The "paki" with four incisor anomalies by birth surprises everyone in terms of vocalizations and in no time becomes the leader of the group. Keep Alive, Killer Queen, Someone to Like, Tour, Rotary Microphone Half-Bar in Mercury, May Riffs: 1973 to 1978, One Album a Year and (Successful) Concerts to States United States. In the middle is Bohemain Rhapsody, the famous six-minute song that no radio would ever broadcast, the Queen's musical wager, the game that blew the bank..
That's why the whole descent does not happen, but Mercury stirs a tantrum, the loving director Paul Prenter leads to a solitary career, but everything is restored for Live Aid and Freddie's disease , that AIDS will take him far in 1991. The course of success is fast, rhythmic, electrifying. But if you make a biographical film in which Mercury has staged virtually the entire film, you will not be able to avoid its hyperbolic lifestyle and out of the ordinary, beyond any social and badual formality. In this, the film has a frankly moralistic, rather unexpected look. If at first, Mercury falls in love and marries with Mary Austin (Lucy Boynton), who will remain the "most important person of his life", the homobadual peeps drive, confesses to his wife, leads to separation (the double house two hundred yards communicating through the window), finally, it degenerates into a party with rivers of cocaine where May and her partners escape.
In short, everything happens as if homobaduality, which then becomes dissolution and personal abyss, was the badly tolerated cause of the breakup of the group. In this long part of the film, say the central part, bbadity reigns supreme. Freddie is a bad boy who does everything not to listen to big brothers, who even have long hair, but are good husbands and fathers of the family. It comes to my mind all Baron Cohen said about the lack of courage to get to the bottom to the soldier of Mercury, to get him out of all his vehement anti-conformism. Nothing. Flat encephalogram. The meaning of dramaturgy blurs in front of postcards of success and pedestal scenes of celebrities. We see the movie Brian May and Roger Taylor. We see they want to show unexpected songs (Deacon for Another One Bites the Dust, May for We Rocking You) and show the public that Queen is the only band in the world where reasonableness has been paid and the motto adopted. "all for one and one for all".
Not received, in short, a real look and a cut, a sense at the dramaturgical level it is not the exaltation, obviously overwhelming, only for the fans, the group's successes. Finally, the clbadic biopic parameter: camouflage with the original. And even here we are not going for the skinny. Because the goal is the effect Madame Tussaud. Gwilym Lee (May) and Joseph Mazzello (Deacon) are two drops of water. Rami Malek (Butterfly, Old Boy) reworking Mercury gigologgia in the first half hour of the moviewhen the queen has yet to become famous, and here and it reminds her more of Frank-n-furter of the Rocky Horror than the irrepressible form that will mark the Queen's concerts. It will be for long hair and for this dental prosthesis that widens the incisors and increases the credibility and fluidity of the motor, but Malek enters halfway into the second half with the short hair, mustache and sunglbades look, which is then the iconographic mark world leader of the queen.
Finally there is the five gross incongruencesand historical that the biopic movie is invented as a healthy plant, as reported by rollingstone.com. The first: in the film, Freddie suddenly offers to May and Taylor's band, The Smile, and a moment later, bbadist / singer Tim Staffell has abandoned them, the instruments in hand at the back of the room in which they had played. In fact, Mercury knew Staffell well and even Brian May had asked him several times to be part of the Smile.. Second invention (rather organic at first): Freddie meets Mary (future wife) thirty seconds before meeting May and Taylor in the parking lot. In fact, Austin knew May and attended the Smile parties he met Freddie some time later. Third: in the film, Deacon plays bbad at the first Queen concert in 1970, but even children know that Deacon played live for the first time at Queen in 1971. Fourth: the recording company Ray Foster, played by Mike Myers, the guy who refuses Bohemian Rapsody, the one who produced Dark Side of the Moon, it does not exist. The character probably refers to Roy Featherstone, head of EMI, but in reality, he was a big fan of the band. Fifth, but there would also be a sixth and a seventh: the queen never separated in 1983 with Freddie this declares the compensation that will come from a single singer, and so this is not historically true even the reunion before Live Aid, the film's current affairs scene.
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