For the better part of his life, Freddie Mercury (Rami Malek) was an outsider. A black sheep in his family and a perfectionist in the studio who many didn't feel like they knew for most of his years, the frontman of Queen became something else on stage with his band. Mercury came alive out there, on a platform where no one could ask him about his sexuality, partying, or private life. All they asked was that Queen rocked them, and they did.
I'll admit to not being a hardcore fan of Queen, which may have aided my enjoyment of Bohemian Rhapsody, the new biopic started by director Bryan Singer and finished by Dexter Fletcher. Instead of nitpicking the twists and shortcuts this film takes like an addict would, I walked into his film like a blind concert fan who just got a ticket at the last minute. Someone who just wants to be entertained. The film succeeds heavily in transporting me back to the 1970's by getting the most important thing right: the casting of Mercury.
Malek doesn't just impersonate, imitate, or try to bring back the essence of the electric singer and performer; the actor becomes the ubiquitous man right in front of your eyes. Equal parts convincing and diabolical, Malek nails the mannerisms and stage presence of Mercury while also tapping into the persona behind the legend off stage. As it was in life, there was a layer of mystery around the man that wrapped itself around his stage life, and the screenplay provides Malek enough space to tackle Mercury's soul-chasing moments without dwelling on them. The actor offers a tour-de-force performance that makes the shortcomings elsewhere worth the hassle.
For the record, Sacha Baron Cohen had no chance to playing this role better. When Malek gets an Oscar nomination and possible award in a couple months, you'll believe me.
Bohemian Rhapsody also gets the studio and concert scenes right, taking you right into the frustrating roundtable of genius that took place between Mercury, Brian May (Gwilym Lee), Roger Taylor (Ben Hardy), and John Deacon (Joseph Mazzello). I felt a good quake when the boys stomp their feet for the first time, or utter out the bass line that leads to "Another One Bites The Dust". The live shows are the film's true nirvana moment, with Singer/Fletcher showing a visceral touch that centers on Malek's movements and gestures.
The highlight of the film, which also serves as the bookends of the screenplay, is the 1985 Live Aid concert at Wembley Stadium that over 1.5 billion people saw. Seeing Malek strutting his stuff in the middle of that giant stage as the camera swoops around the exterior and down into Mercury's face and eyes as he belts out the tunes with every breath in his body, creates an exhilarating rush for the viewer. If you don't feel something as the finale plays on, I'd check your pulse.
The film does have its flaws. The screenplay does condense a few things which creates a pacing problem, namely Mercury's sexuality and the timing of his AIDS diagnosis. The filmmakers take liberties with the timeline that will upset some purists who don't like alterations to the story, and that's a legit complaint. There are also moments where the story will present a chapter in their life before jumping quickly to the next. You get the feeling a checklist was being used at certain moments. It's okay to miss parts of his life, but when you stop in on them and then jump, there will be judgment. Sometimes the film tries to cover more than it should, and that will rile some up. To me, it was clutter.
The sexuality, however, isn't squashed. There are some critics who will tell you it is breezed over, and I can tell you it is not. There are several instances where Mercury shows his desires, and it's not a passing moment. The first love of his life, Mary Austin (Lucy Boynton), is presented because that is what happened first in Mercury's life.
For the crowd who thinks Mercury's true love of his life, Jim Hutton(Aaron McCusker), is omitted, I'll reassure you he is very much a part of this story. Is he as big of a part as the troublesome Paul Prenter (Allen Leech)? No, but the filmmakers make sure he is a part of this story.
Here's the thing. If you want a full-bodied Queen story, go find the documentary or a book. With every biopic released wide in theaters, filmmakers will take liberties and switch things, and that's something I don't have a problem with as long as the movie is entertaining and fulfilling. It happens with just about every true story. As long as they get key elements right and try to include important moments in the journey, I am game.
Screenwriter Anthony McCarten does distort the truth in certain areas of Mercury's life, but comprises a thrilling greatest hits moments of the band's high marks. It's not a great script, but there are some truths stuffed inside of it that fans should appreciate.
This is a more crowd pleasing depiction than the complete illustration of someone's life. I didn't go in asking for the entire Mercury story here. Just a well-told story. Against all odds, a director change and shooting troubles included, Bohemian Rhapsody is a success. Oh, and you'll love Mike Myers as the record executive who thought a certain song was too long. The film does have some humor, thankfully.
The high wire work of Malek and the thrilling concerts sequences will make you fall in love with Queen all over again. While far from perfect, Bohemian Rhapsody was a blast.
