Bohemian Rhapsody – glorious yet shallow flattery

Anyone with a true passion for film would say that a great film stays with you long after you’ve seen it. In one way or the other. By that token I consider Bohemian Rhapsody a great film. However, it is not a great film from a cinematic, or even storytelling point of view. There are a few carefully chosen angles and camera pans that did make me stop and admire its cinematography.  It is a well executed film, but one would struggle to find more than two truly memorable scenes which would resonate with both film lovers and fans of the band alike.

What the film does well is preserve the legend of Freddie Mercury, and there’s no doubt as to why that is. Brian May and Roger Taylor made sure that everyone attached to the project played it safe and showed respect to the source material. This might not have been the best idea. I couldn’t help wonder what the film would have been like if it had been directed by a true fan of the band and of Freddie. True fans would accept the darkness with the light, champion it and stylise it. That light does shine through in this production,or part of it. It cannot be kept away, for Freddie’s light shone very bright indeed, a force as great as rock music itself. Fortunately for us viewers, Rami Malek managed to capture a glimpse of that light and show it to the world. It left us wanting more. It left me wanting to discover more about Freddie’s extraordinary talent and his controversial life. Hence, weeks after having seen the film, it is still with me. I find myself wanting to watch it again, to see if any hints, innuendos or references to the musical genius might have been missed. On first viewing one feels they are shown a show reel, a best of of a best of. It is an ordinary presentation of an  extraordinary rock’n roll band. We all know from the very beginning that the story and more importantly the music was anything but ordinary. We are still waiting for the goosebumps we know good cinema undoubtely give.

What the film failed to capture, whilst busying itself with being as PG and PC as possible, was both the essence of the band’s musical legacy and the complexity of Freddie Mercury’s tumoultuous life. We can’t tell for sure which film Bryan Singer would have ended up making, had he finished the production. Fans of both the band and cinema itself would want either one of those, not both crammed up into one, without doing justice to either. The source material is too vast, too sagaesque both in terms of music and the private lives of the musicians to be made into one film. As someone who has now researched their music extensively, it is my belief that Bohemian Rhapsody only manages to show a glimpse of the kaleidoscopic narrative that is represented by the two titanic entities: Queen and Freddie Mercury.

Vice – an exquisitely pretentious piece of cinema

The story goes that when Dr Strangelove was first conceived, it was conceived as a dramatic script. Somewhere during the writing process, a funny idea came to Kubrick’s mind. And then another, and another, until what emerged was one of the best political satires of the 20th century. Adam McKay, the writer-director of Vice is no Kubrick. He is by no means a bad director. He is probably an even better writer.

However, the impression that Vice leaves with the viewer is that the idea of turning this political drama onto a satire seemed to have sprung up on him during post-production, leaving us confused as to what we were watching. He seems to have whipped up ideas as he went along while editing the picture and attempted to gloss over any inconsistencies through the use of fishing visual metaphors.

At times it felt like we were being privy to an avalanche of sensitive information regarding the way the free world is being run. This, I must confess, brought on a feeling of physical discomfort. It almost instinctively made me think that there are levels of corruption that we, as regular folk can only imagine. Either that or Adam McKay is very good at imagining and filling in the blanks left by the Bush administration by using private email servers.

While busying itself with painting a demonic picture of Dick Cheney, the film manages to dehumanise him, thus almost excusing him from all the machinations and Machiavellian dealings we see him carry out in the film. Christian Bale’s performance is an almost perfect representation of what Cheney looked like, spoke and acted in front of the cameras, but there is little depth to it. The monster is one-dimensional and thus less believable and less feared. At the beginning of the story we are told that it’s the quiet ones we should fear, the men in the shadow of those in power, thus giving Cheney an aura of insidiousness. However, there is nothing insidious about Bale’s performance as Dick Cheney. We get very little insight into what his driving force is, other than the all-encompassing American love for his family and his country. Protecting his family and his country gives Cheney carte-blanche to go off starting wars in the Middle-East. And yet, that motive isn’t as well defined as one might have hoped. There’s an indication at profit to be made from the oil in Irak, but that is also quickly swept under the carpet.

While the film is very rich in ideas as well as modes of execution, what it is lacking in is the consistency to present a story. It may even be accused of suffering from the ‘Bohemian Rhapsody’ syndrome, which makes the subject matter alone deserving of respect, regardless of the way it is presented to the public. After all, a biopic about a hated man and a crucial part in American history should have the same gravitas as a biopic about what is arguably considered the best frontman that has ever graced the music stage, and thus get as many accolades. While neither film manages to truly earn its Oscar worthiness, the saving grace for Bohemian Rhapsody was Rami Malek’s astonishing performance. In the case of Vice, Christian Bale’s central performance might have driven the film too far into caricature territory had it not been for the supporting performances of Amy Adams, Eddie Marsan, Justin Kirk and Sam Rockwell, the latter’s portrayal of a buffoon president being welcome with a knowing grin. After all, it’s hard to imagine G W Bush depicted in any other way. Amy Adam’s Lynne Cheney almost succeeds to be a well-rounded character, despite a few far-right outbursts that come off as a bit too much for a 2019 audience.  

All in all, Vice is a passable film that raises as many questions about American politics as it answers, and which could have probably been even more enjoyable had it fully embraced the Brechtian aesthetic it merely toyed with.