Bohemian Masterpiece

If you like joy, you should go see the film Bohemian Rhapsody in the movie theater. Likewise, if you like masterful acting. Or music. Or Queen. Or if you remember what you were doing when you witnessed Live Aid. Or, if you’d just like to see a really great movie.

Bohemian Rhapsody, the film, will satisfy all of these checkboxes, and more. It is, certainly, the best film I have seen this year and the best I expect to see. It is my favorite cinema experience since the brilliant Dunkirk.

I ain’t the only one. While the thing currently has a score of 64 on Rotten Tomatoes, it has a 94 audience score there. Critics are enjoying dissecting this movie, but audiences are simply * enjoying * this movie.

Yeah, but they got stuff wrong, critics are saying. Freddie didn’t have the studly mustache look until 198x, they says. They didn’t have to coax Geldhoff into them doing Live Aid, he had to coax them, and it wasn’t because of that, it was because of this, they says. And how about that stuff where Princess Leia floats through space like Mary Poppins, they says.

Blah, blah, blah, blah.

Rami Malek is reason enough to see this thing. It’s like he invites Freddy Mercury to live in him for a while. If he isn’t holding at least one tall bald trophy sometime next year for this, I’ll be more surprised than I was on Nov. 8, 2016.

The best of this movie is its ending, which is essentially a strut-by-strut re-enactment of the band’s Live Aid performance. This is some of the best faux rock performance footage since Purple Rain. Val Kilmer was a good Jim Morrison, but this kid from Mr. Robot is a great Freddy Mercury, accurate down to the hair on his forearms.

Holy crap I may just have to start watching Mr. Robot.

Among pop-music-group-bipopics, this is the best I have ever seen. Does it contain ever dull pop-music-group-biopic trope? Oh, yes. But it does ever single one better than any other. I say they might as well stop making pop-music-group-biopics now. (Sorry, Michael Hutchence.)

It doesn’t hurt that the source material is Freddy Mercury, one of the most powerful presences ever in rock-n-roll, and Queen generally, one of the most bodacious bands in rock-n-roll. I remember the first time I heard “We Will Rock You.”

Do you?

If you do, it was probably one of those moments, like the first time a girl blows in your ear, or your first gyro, but like, louder and with harmony. I mean, all it is is a powerful stomping percussion with a choir and a fantastic guitar solo. This was a less-is-more first I think that was later extrapolated buy guys like Prince (see “Kiss”).

For me, Queen was one of those musical revelations that kneaded my brain at a formative age. One of the first. One of many to follow.

And many reviews have somehow taken exception with how the film handles Freddy’s (homo)sexuality. How would they like the movie to portray this? Freddy was out and FABULOUS? He wasn’t. He couldn’t be. He lived under the same oppressive nonsense that made millions of others just as isolated as he was, an isolation that ended up drowning him to death via AIDS, a public health epidemic treated by our powers that be at the time as a modern-day leprosy rather than as a health crisis that required recognition and action.

Or did you forget all that?

Anyways. Of all things, this film is a fine, suitable tribute to one of the most powerful performers in rock. It is a joy, a sustainable, uncontainable joy.

Do you like joy?

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