Velvet Goldmine Review Movie
Velvet Goldmine Review
The glam rock film comes from American indie filmmaker and writer Todd Haynes somehow makes a porcupine's ear from the purse of silk that was the glitter era of the 70s early on creating a comical fiction in which any of the many real stories, not to mention the rising and falling that David Bowie's Ziggy Stardust – would have been much better. However, Haynes has a dream that he'd like to communicate.
This vision is based on the rise to superstardom in the film of Brian Slade (Rhys Meyers) which culminates in an unprovoked death and a mysterious disappearance. 10 years on, Mancunian reporter Arthur Stuart (Bale) who is based on the streets of New York, is asked to write an "Whatever was the fate of Brian Slade?" story. It's an ideal project for the former fan , and this film continues to recount in flashback the tales about Slade as well as Stuart and how their lives briefly connected. On fine paper and on celluloid, a Rocky Horror Show of nightmarish scale.
Following a fairy tale-themed voiceover that appears to be a link between glam rock and Oscar Wilde and UFOs (but mostly suggests that you are watching a reel of a different movie), Velvet Goldmine quickly shifts from poor to worse. Locations and references to period are badly executed and the closest thing to perfect pitch is that it resembles an unworthy film that was created in the 70s however Stardust is far better. In the mix is McGregor playing Curt Wild, who is slurring his way through a decent Iggy Pop imitation (although anyone wearing a bare chest, long, blond hair, and tight pants could not pull off one, should return their Equity cards). Bale is a great sad Northerner struggling to transcend both her roots as well as his stigmas.
to make it work in to be a part of the London scene to be a part of the London scene. Rhys Meyers is On regardless of the script goes on and continues to go on.
The only two characters, Collette (as Slade's frightened lady Mandy) as well as Eddie Izzard (as his brilliantly exuberant manager) appear with any respect. The soundtrack's old classics are a welcome relief, however the inclusion of a handful of rock'n'rollers (including those from Teenage Fan Club and Pulp) in the stage scenes gives credibility that it doesn't have. The twist in the story appears so obvious, and boring and predictable that, long until the final scene is near it's impossible to stop watching to see if the story can become any more gruesome. It certainly does.
It could have been a hit in the event that it was played to entertain – however, The Comic Strip would have had a much better time. The end result is that the only thing that made it successful was its ability to take over Absolute Beginners in the top spot as the best sneered at British music film ever.
