Velvet Goldmine (1998)
★★★ / ★★★★
I can understand why most people would dismiss this film due to its disorganized way of telling the story and featuring a lifestyle that was not (and still is not) fully accepted in society. “Velvet Goldmine” was about a journalist (Christian Bale) who was assigned to write an article about a glam rock star named Brian Slade (Jonathan Rhys-Meyers) whose stardom quickly plunged because he faked his own death. Incidentally, Bale was a fan of Slade when he was younger so the assignment was a lot more personal to him than any other projects he had before to the point where he rekindled some of that obsession he used to have for the rock star. In order to get the full picture regarding Slade’s life, Bale interviewed the people that knew Slade most: the one who discovered him (Michael Feast), his wife (Toni Collette), his manager (Eddie Izzard), and his competition/partner/lover (Ewan McGregor). I must give kudos to Todd Haynes, the director, for featuring strong performances from the four leads (Rhys-Meyers, Bale, Collette and McGregor). He told the story in such a way that each of the four had an equal share of the spotlight and really gave scintillating performances. I also liked the fact that Haynes’ message about music was different. Most pictures that tackle the meaning of music tend to argue that music is a meaningful entity. In here, the message is the antithesis: music is meaningless; music is driven by the artists’ ego and thirst for taking over or changing the world; lastly, music–or real music–should not and does not contain anything personal from the artist because its purpose is to simply entertain; to put something personal in it is to contaminate it and thus defying itself. Well, at least that’s how I interpreted the film. I found this film to be particularly cold: It did not make an effort to convince its audiences why they should care for the characters. Interestingly enough, I loved it because it embraced the feeling of the 1970’s glam rock era which consisted of revolting against the norm, being apathetic to things that should matter, and embracing the dirtiness and griminess of atypicality. For an independent film, I thought it was particularly powerful, especially when it used techniques from the film “Citizen Kane”–fusing past and present in order to truly understand the characters that have been so wrapped up in the darkness they’ve created for themselves. I also appreciated the fact that it featured the fluidity of sexuality, emotions and ideas. This is a rich film with fascinating images and ideas but it’s not particularly accessible so one should be wary on whether he or she should watch it. But if one has an open mind, this should be a pleasant surprise. This reminded me of a weaker “Hedwig and the Angry Inch” (though the two are very different films); a little bit more focus would have made this an instant favorite of mine.