Weird, dazzling, sexual liberated and, at times, bordering on the psychedelic or surreal, Velvet Goldmine is a fun movie with a great soundtrack and an interesting visual aesthetic. At times, it tries to be far deeper than it seems, and can thus come across as mildly indulgent, but all things considered, it seems to capture the expressionism and ideals of the Glam Rock movement.
Glam Rock a la Citizen Kane. While I was less invested in the second half than I was in the first half, Todd Hayne's glitzy pop ballad is a love letter to the sexual identity and thirst for artistry of the early 70s British music scene. Gorgeous imagery and a hypnotic soundtrack combine with embittered but passionate performances to craft a highly psychedelic, somewhat flawed, and often great film.
Not so much a history of glam rock as an expression of what it meant and how rock legends are born, the movie has the feel of a rock fable gone to live with sequins, stardust and pastels. Fans of movies like Moulin Rouge and Almost Famous need to give this movie a serious watch: stunning in production, well acted, fabulously directed.
Citizen Kane gets the glam-rock treatment, plus this coating of kind of sappy, kind of offensively simplistic gay romance. I think if we spent more time with the characters-- especially Christian Bale-- it would feel less like a deeply indulgent music video. But hey, the music's good, the production is impressive even for its $9 million price tag. Once again, Haynes lets his goofiness impede bigger accomplishments.
Saw this when it opened, on the big screen at the Mayan in Denver. Remember loving the gloriously dreamy crushed velvet quality, and being assured that people were living/thinking differently somewhere. Strange seeing it on the small screen now. Longed to feel that same sensation of my mind being blown. Unusual to see J. Rhys Meyers perform without his now-ubiquitous snarl. And a treat to see Eddie Izzard. T. Rex!
Difficile de critiquer un film qui se veut une reconstitution d'une époque "Glam". Le problème c'est que n'ayant pas les droits de Bowie, Todd Haynes réinvente des personnages qui ressemblent comme deux gouttes d'eau aux stars de l'époque, le talent pour la composition en moins. On se retrouve devant un gros clip géant avec des acteurs à contre emploi (Ewan Mcgregor notamment) et on s'ennuie, beaucoup..