Fletcher announces so marvellously in a smaller yet budding stage, what or how Bohemian Rhapsody should have been.
Fletcher brags like no one. And usually that is not the key that would unlock a biography. But blending in the musical genre, the calculative bragging or more precisely, celebratory note, turns this passionate project of, the director, Dexter Fletcher, into a crowd pleasing extravagance that is hungry for a round of applause. And I saw the film triumph, not on the roar it receives after the curtain drops down but the humming of these viewers in every musical number. The screenwriter Lee Hall is not taking any risks, it’s just that, watching plenty of biographies himself, he has just decided to not steer down those repetitive mistakes as others did, and as a result, the film comes off as a breath of fresh air.
The textbook structure doesn’t challenge me, nor the smartly installed levity in the narration, it is the surfing of the vital plot points as a highlight dashing across two straight hours and still not framing it as some dry news; that is surely challenging. And wishing luck to his script is Fletcher standing straight with an experience, that never takes over the film and instead respects the decision, room and pace of the storytelling by shattering these event into piece by piece.
Surprisingly, I never saw him put together all of it into one big puzzle, he is happy sharing them as memories rather than sweeping the floor in one big scoop. And his old time showbiz partner, Taron Egerton is flexing his muscles charismatically. Frankly, I didn’t buy the casting choice earlier, but watching him dress up as Elton John and then later dress bling-y like him on stage is a whole new experience, You don’t get to see someone prove yourself wrong in only two hours, nowadays, I was glad to be wrong as I was to watch him tune into the Rocketman of his own version.