Tag Archives: Musical

Eavesdropping at the Movies: 121 – Mary Poppins Returns

Mary Poppins is back after a mere 54 years since the first film. The kids have grown up, life has grown difficult, and a magical undying supernatural flying nanny is precisely what they need.

What they don’t need are new ideas. Mary Poppins Returns copies the structure and concepts of the first film almost to the point of parody, today’s Disney operating in a world in which people apparently want low-effort, straight-up nostalgia (as their spate of CGI-laden remakes of their animated classics can confirm). However, the film has its charms, in time the songs may become memorable – one can rarely tell on first viewing – and children are sure to love it as previous generations loved the last.

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

Eavesdropping at the Movies: 108 – Bohemian Rhapsody

The road to banal and disappointingly homophobic biopics of rock legends is, as they say, paved with good intentions. The Queen story/Freddie Mercury biopic has been in the works since 2010, with creative differences amongst the filmmakers made public and Brian May and Roger Taylor apparently exercising tight control over how the story would be told. What they apparently wanted was sanitised, bowdlerised, pasteurised, inoffensive to the delicate sensibilities of an audience that would rather not look too closely at the sexuality of a gay icon. Which sounds absurd, but considering the old man sat near us in the cinema who audibly said, “oh dear”, when Freddie was shown kissing a man… Jesus, they might have had a point.

José expresses his disappointment at seeing yet another gay story in which being gay leads to isolation and unhappiness: ‘the sad young man’ trope evolving into the ‘dead queer’ one. Freddie is lonely, surrounded by cats in a vast empty house, pining for a woman. His gay relationships are chaste and the one openly gay character, comfortable with who he is, is cast as a snake, a villain. Freddie’s sexual drive bursts out of his music; are we supposed to believe he experienced no joy in being gay? Brian May – the character – is depicted as a particularly annoying pest, clean, perfect, and forever commenting on Freddie’s lifestyle and behaviour as if to vet it; or perhaps as if to ensure the audience is comfortable. The more we think about it the more homophobic it is.

from ken

Our discussion of the film’s attitude to and portrayal of Freddie’s sexuality is central, but two other key aspects to his life also come under criticism – his music, and his death from AIDS. The latter is skated over almost entirely, sympathetically included right at the end to help you feel good about feeling bad for him. The music can’t be hurt, of course, and it’s a pleasure to hear banger after banger, but as Mike says, you may as well go home, read the Queen Wikipedia page and put on the Greatest Hits. What drives the band, what drives Freddie, aren’t things the film appears to have even considered might be interesting questions. Things just… happen. In chronological order. Mainly.

Ultimately we ask ourselves who this film is for. We watch it at a distance, wondering why it is the way it is, not really involved in it until that final act in which Live Aid provides Freddie with the opportunity to make the entire world his own for twenty glorious minutes. And once we get there, everything else becomes insignificant for a while, because it all comes together, the music, the character, and the best parts of Rami Malek’s performance – his physicality and stage presence – and we get to watch Queen for a while. (Or at least a very good tribute act.)

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

Eavesdropping at the Movies: 102 – A Star Is Born

 

 

Hyped up, already very successful, and widely well-received, A Star Is Born earns strong reactions from us. To Mike it’s at points truly reprehensible, to José simply a confused failure. Mike has never seen any of the previous versions – he tried and couldn’t make it – while José finds writer/director/star Bradley Cooper’s new remake unworthy to share their company. The novelty of seeing Lady Gaga unmasked soon wears off, her performance opaque and lacking in presence. We agree that Cooper is very good and truly a star, though with the opprobrium he receives from one half of us, he must have done something to Mike in a previous life.

We discuss and debate what we make of the film’s characters – Mike finds them deeply unlikeable, toxically compatible, which isn’t in itself a bad thing but for the fact that the film wants to render it romantic. (Cooper has a real problem with consent and personal space.) José finds their love difficult to believe in, particularly Gaga’s for Cooper. Quite why she’s so hot for him is barely even told, let alone shown.

Cooper’s take on the music industry is out of date and simplistic, which is more than disappointing considering he was working with one of the biggest pop stars of the last decade. We each have our reasons for finding the suicide scene nonsensical. And Mike describes his problem with the film’s ending.

A lot to talk about, most of it negative. See you again in between twenty and forty years for the next version.

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

An excellent piece by Richard Dyer on the films can be accessed here: