If you want to see a movie that is largely fictitious, with spiraling torque and a time frame that is more distorted than a vinyl record sitting in the sun, go together to watch the Bohemian Rhapsody, the new Biopic Queen.
Now, do not make me wrong, Bohemian Rhapsody, starring K. RobotRami Malek, is an extremely enjoyable film in this lifestyle of the film. But those looking for events would be better served by reading one of the band's many biographies – or hiding their page on Wikipedia.
Given the 134-minute execution time, it was obviously necessary for filmmakers to squeeze the events, but many vital elements to lead the life of singer Freddie Mercury are incalculable. His tense relationship with his parents is never explicitly explained or explored correctly, and his first homosexual feelings slipped.
There is a lot of supposed knowledge about this area of his life: a flirting with a girl that focuses more on his sartorial style than on his sexual attraction is played largely for laughs, with an eye on the camera.
"You can see where this is leading," the film seems to suggest, and it's so shaken, we can.
The encounter with the other members of the band, the moment Mercury joins Queen, having impressed them with his vocal bravery in the parking space, is pure imagination and very close to a Dewey Cox moment for comfort. Now I was not there, but I would bet on the farm that Hermes was not dismissed because of his teeth just to immediately close one of his songs, forcing others to hit with perfect improvised quadruple harmonies. In fact, Mercury's appeal to others was his charismatic, not his vocal ability. He was the first singer in the beginning, who had none of his warmth later or an extraordinary turn. The film also does not recognize that the Queen was her third band, having featured rock groups, roll since he was 12 years old.
READ MORE: How did Rami Malek transform into Freddie Mercury
The film seems to have a tough time with the sexuality of Freddie Mercury, presenting a confusing and thoroughly PG moment in a truck stop to the booming of his active gay life while casting his relationship with a band member of the band as corrupt, terrible situation that led Mercury to the criminal.
The rest of his homosexual performance is treated as mere bravery, except for his 11th hour of love with Jim Hutton, who is a horn-shoe to give Mercury's story a romantic happy ending, rather than ever explaining their very real love .
Meanwhile, his life-long relationship with Mary Austin (which, despite the insistence of the film, was not in fact his wife) was rich in nuances: her animal attraction to her is often presented, while referring to the existence her as "during a pretty funny family scene, we never see sex with a man, but we see him composing a long love with Mary, we see him filled with jealousy when he dares to go on with the romantic of life many years after the split the true love of his life, we are told, and never allowed to forget it.
TRUE TRUTH MORE DIAGNOSIS
Other elements of Mercury's sexual life are totally omitted, like the many sexual escapades in the legendary New York gay club Mineshift. Also, it is ignored that when AIDS was rampant in the gay scenes that Hierogios frequented, far from afraid to catch it, he continued with his recklessness. He was saying to a worried friend at the time: "Drewler, f *** this, I do everything with everyone."
This attitude of the cavalry has expanded a lot. Mercury shared a lover with Gaëtan Duga, who was unjustifiably demonized as a "weak zero" in the 1980s, the man falsely accused him of bringing the HIV virus to America and spreading it through his recklessness.
Mercury also never came out of the cupboard during his lifetime and kept his condition as a secret until just 24 hours before his death when he released a statement that said nothing about his sexuality. He never told his parents about his HIV status or that he was gay.
In 1994, Jim Hutton's partner told Breakfast Standard that Mercury was in a deep denial of his diagnosis and that he just told him Hattton did not discuss it again. "It was his cross and he wanted to bring it in the way he chose – without loading me. If something appeared on TV to do with AIDS, we would be going through channels."
In turn, when Hutton was diagnosed in 1990, he never told mercury.
Most worryingly, Hermes continued to have unprotected sex with many partners, including Hutton, even after he knew he had HIV. Hutton died of AIDS in 2010. This final bell is impossible to discourage, and it is difficult for fans to reconcile in them. It is no strange to move away from the film.
SUPPORT AND PREPARATION OF SUPPORT
Perhaps this calcium had much to do with the band's intense involvement. Sacha Baron Cohen was scheduled to play Mercury, but left the project after collapsing with guitarist Brian May. Cohen wanted a much darker, sexually guided depiction, while May did not want anything to block the band they had built around the band. After all, in 2018, the Queen is less complex and more brand, cycling through numerous singers over the years, shilling Queen Monopoly also raises a series of mistakes, mixing money remixes.
The uneven presentation of the film is also a symptom of creative emancipation over the years: it was announced for the first time in 2010 with Cohen playing Mercury until he left the film in 2013. He spent three years until Rami Malek signed end of 2016 shooting starting in September 2017. Until December, director Bryan Singer launched the work after complaints of sexual assault. Dexter Fletcher (also known as Spike by Press the gang!) took over and completed the movie, which was raped in the cinemas. In short: its production Bohemian Rhapsody it was a mess, and it shows. Even the title calls laziness.
The film is full of waking up and jokes: a heavily crafted Mike Myers mentions his own Wayne's world arguing Bohemian Rhapsody children would never have to touch the back of the cars. earlier Mercury plays a few notes of the song on a piano and notes vigorously that it shows promise while the self-awareness of the early clanger I'm in love with my car which was not there at that time was introduced for easy laughter.
A MISSING END
The top of the film and the Queen's career if you think the narrative presented here is the triumphant appearance of the band at the Live Aid concert. In an interesting directorial decision, the film represents about 15 minutes from this concert, with Malek making an impressively faithful performance of the concert under the choreography of the stage. But the effect of this performance is lost. Why did we need to see Bob Geldov be excited that the benefit concert had reached his goal? Why did we have to see Geldof at all?
This was also a silly place to leave the movie. The Queen has achieved some of the most successful moments of her career since the Live Aid Concert, releasing three albums number one between 1986 and 1991 (plus a quarter with 1995 Theoplasty after the death of Mercury), including many of their favorite songs.
Around the time of Live Aid, Mercury is also working with Michael Jackson, which seems strange to miss out on the film. Again, we went to see Geldof, but not Jackson? Do you want to hear a great story about how these collaborations collapsed? Mercury did not feel comfortable with Jackson's insistence on bringing the pet lard to the studio. The pet blade! How did this not make the film, while a working scene in which we see John Deacon presenting the bass Another bites the dust I did; In any case, Mercury's first solo record, which was presented as a detour and failure in the movie, was in fact a successful top 10 hit, which he preserved hard, led and worked for two years.
The film also skirts completely beyond Freddie's HIV diagnosis, showing none of the agonies he felt about this bomb. Instead, we move forward to a chirpy mercury that asks the other three members to make the soul and not let that point disturb rehearsals for the big show. Where the film could use some passions and sink at these moments, we do get Mercury that is struggling with high notes in a song as the only sign that things are not 100 percent orange.
The most unforgivable thing about this film, however, is that the timing of his battle with HIV is distorted to serve the narration of the film. In fact, Mercury was not diagnosed until 1987, about two years after the Live Aid concert. Far from a simple chronological shift, it completely redefines the essence of the film. Mercury did not come to Live Aid against all odds, poor health and knowledge of his imminent death. It was actually driving high from the back of a top 10 solo album, a reassembled band and a recent Queen album Projects, which hit number two.
When the emotional heart of the film is presented in such a fake way, while true sorrows, anguish and honest moments are completely avoided, you have to ask: what is the point?
Still, I have to admit that the soundtrack is great.
– Nathan Jolly is a Sydney based writer who specializes in pop culture, music history, true crime, and true romance. Follow it on Twitter @ nathanjolly