An ode to Elton John!
A rock star origin story that flaunts its hero’s superpowers as if he were the newest member of the Avengers, Rocketman is shameless in its ambitions to crown Elton John as one of music’s greatest artists, most fascinating figures and saddest souls. Taron Egerton gives everything to his portrayal of the man born Reginald Dwight, including singing the pop titan’s many indelible hits, and director Dexter Fletcher pulls out all the stops for a biopic that boldly tries to reimagine Elton classics as elaborate musical numbers that reveal clues to his psyche. Clearly taking a page from Elton’s lavish costumes, Rocketman does nothing in half measures, but the overkill, and the narrative predictability, eventually just becomes overwhelming.
Rocketman opens as global superstar Elton John (Egerton) reluctantly enters rehab, looking back on the circumstances that led him to hitting rock bottom. Told through flashbacks, the film chronicles his journey from a piano prodigy to meeting talented lyricist Bernie (Jamie Bell), who becomes his songwriting partner during John’s 1970s heyday. But soon, fame and buried insecurities prove to be a dangerous combination for a young man with a toxic belief that no one will ever love him.
Elton John serves as one of the film’s executive producers, and there’s unquestionably an artist-approved quality to Rocketman that couches every one of the performer’s failings as merely an obstacle he will triumphantly overcome. But because so much of the movie is pitched at such a high level of melodrama, Rocketman emphasises John’s legend over his humanity, which makes it hard to feel closely connected to him, especially in the story’s later stretches when he’s meant to finally grow as a person.
The movie impressively recreates some of the artist’s biggest moments — notably, his breakout 1970 shows at the Troubadour — but even though Rocketman doesn’t hide his homosexuality, his romantic relationship with business manager John Reid (Richard Madden), despite some mildly titillating love scenes, feels underexplored. The film does better with John’s platonic business partnership with Taupin — Bell is sweetly sympathetic — but here as well, there’s not enough time to develop John’s bond with anyone around him.
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