myfarisus-blog

[myfarisus-blog]

Why do I keep obsessing over “Rocketman”? Because of the characters, and the acting, for starters!  Taron Egerton completely inhabits the character that he portrait, the1970-1980’s era Elton John, as David Furnish has observer, at a truly “molecular level,” and it is a “warts-and-all” portrayal of the private man behind-the-public-persona that the real Elton fully approved and endorsed. The viewer - male or female, gay or straight - can viscerally feel every emotion with Egerton’s troubled Elton.  Even John Reid, the chief (though hardly the only) villain of the movie, as played by Richard Madden, is compelling and multi-dimensional, as are all the best stage and screen villains.  In fact, both the hero (anti-hero?) and vilain both have a “character arc” in the movie; in Elton’s case from gifted-but-largely unloved child to charismatic superstar-in-love to basket- case to hard-earned redemption and self-love; in Reid’s case, from youthful excitement and genuine attraction to the rising star to frustration, ennui and cynicism as manager-lover of a man whose failings and insecurities he’s come to know only too well.  

Richard Madden, in fact, has stated in one interview that there is an element of fear, even panic, behind his portrayal of the seemingly cold-as-ice Reid, who was after all still just in his early twenties when he embarked on the glamorous but challenging career of music management, initially with only the one huge but difficult client.  In fact, after getting past the initial horror-and-hate factor at watching the handsome, cold player/manipulator emotionally and physically abuse his vulnerable lover/client, the viewer can almost feel the Reid character’s impatience and frustration with his client’s apparent inhability to pull himself together for the high-profile shows that Reid, as manager, has taken great pains to organise (e.g., London phone booth scene, LA pool drowning/fantasy scene) -- and arguably even disappointment in his Significant Other on a personal level.  Note that he angrily calls Elton “selfish” at at least two major points in the film: “selfish prick” after the overdose/attempted drowning incident, and again, during the (imagined) therapy encounter, after his problem-child client ditched a major Madison Square Garden show that he had organized in order to go to rehab.

Finally, it is also possible to attribute the Reid character’s shocking coldness and indifference, at least in part, to his inability to fully appreciate Elton’s dysfunctional family life, having seen only Mother Sheila’s good side, and apparently never having met Stanley Dwight at all, and to his general lack of understanding of mood disorders (with their marked co-morbidity with addiction), which were not as fully understood or effectively treated in the 1970’s and 80’s as they are today.

[myfarisus-blog]

Hey Reid, you self-styled 1970′s-era Beau Brummell, maybe you can manage this guy, but fair warning - DO NOT HIT HIM (”Beau Brummell,” 1954)

[myfarisus-blog]

What’s the Connection?  A Multitude of Parallels: “Beau Brummell” (1954) & “Rocketman” (2019). Caveau: Parellels are not perfect, starting with fact that poor “Prinny”/Peter Ustinov lacked Young Elton/Taron Egerton’s fine, noble jawline and slim waist line (let alone singing talent). The réal Prince Regent was predominantly if not exclusively heterosexual, save for the homo-erotic gaze implied in the 1954 movie’s Turkish-bath scene, or the real Prince Regent watching Brummell’s famous AM bathing-and-grooming routine), though Brummell’s sexuality has long been debated by scholars of the Regency period (see Ian Kelly: Beau Brummell: The Ultimate Man of Fashion). Unlike Sir Elton, Prinny, despite being Prince Regent and ultimately king, did not have a charitable or public-spirited bone in his body.  Unlike Reid, Brummell had NO discernable job or profession save that of mirror-gazing, self-fashioning & insulting his social superiors (see Alexandera Rowland: ”Beau Brummell Wass’t a Hero of Modern Men’s Fashion.  He was a Villain. A Boring, Uptight Vilain”).  But here goes:

“Beau Brummell” (1954)

Handsome dandy as royal hanger-on: -Pioneered the modern men’s suit -Pushed insecure prince’s buttons to advance his financial/political agendas    -Eggs prince on to defy father, “Mad King” George III, & Tory PM Pitt                  -Expected prince to bail him out after falling from favor; contemplates writing embarrassing tell-all mémoir when help not forthcoming

Neurotic prince taken for a “wild ride”: -Disfavored by disapproving, paranoid father (who tries to strangle him!) - Alternately insulted & flattered by Beau -Intrigued by charismatic parasite; opens social doors (& endures credit) -Egged on by Beau to supplant “mad” father on throne -When plot backfires, realizes Beau only concerned about his own agenda -“Cuts” Beau at gala ball, in turn publicly insulted as “fat friend” by Beau

“Rocketman” (2019)

Handsome dandified parasite as music manager: -Wears expensive classic, custom-tailored suits -Pushes troubled star’s buttons to muscle in as manager -Insults, cheats on & hits rock star to advance his own agendas -Whines about being sacked & “cut” from knighthood ceremony (not shown in movie; see “Missing Millions: Reid Metes out the Meat on Elton Relations.” Elton John World.  December 5, 2000 )* – aww, bon hoo! 

Vulnerable rock star “played” like grand piano by manager -Disfavored by distant, disapproving father, largely ignored by selfish mother -Attracted to/involved with ruthless gay “player” & wannabe music manager -Flattered-fucked-insulted-abused- well, basically, fucked! -Forced to perform depressed, drugged, drowned to ensure manager’s 20%  -Finally saumons guts to ditch gig, go to rehab for help                                                   -Acknowledges manager is cold user/manipulator; in turn publicly insulted by Reid as “selfish” & clueless in group therapy (imagined therapy encounter)