|
BROWSE REVIEWS Click on a letter to browse through the reviews on this site: |
ALMOST FAMOUS (2000) Starring: Patrick Fugit, Kate Hudson, Billy
Crudup, Frances McDormand, Jason Lee, Anna Paquin, Fairuza Balk, and Philip
Seymour Hoffman Director: Cameron Crowe Nominated for four Academy Awards:
Best Supporting Actress, Kate Hudson Best Supporting Actress, Frances McDormand Best Original Screenplay, Cameron Crowe Best Film Editing Cameron Crowe’s semi-autobiographical story of
a young fifteen-year-old writer by the name of William Miller (Patrick
Fugit), and his journey of self-discovery and his attempts to find his place
in the world in which writing about the greatness of rock music embraces his
life. Crowe, better known for such films as writing the 1982 hit FAST
TIMES AT RIDGEMENT HIGH, penning and directing the John Cusack 1989
classic SAY ANYTHING, and more recently the Tom Cruise weepy story of
a sports agent with a heart of gold, JERRY MAGUIRE. Though RIDGEMENT
HIGH and SAY ANYTHING are tremendously memorable teen films, Crowe
has really left his mark on the world of cinema with this wonderfully
written, light hearted comedy in which he directs some fine performances by
everyone involved (especially newcomer Fugit). The film starts off with eleven-year-old
William living life attempting to fit into the mold of the era (his lame
attempts at sticking man at the end of a sentence is just sad to
watch). He lives with his rebellious eighteen-year-old sister Anita (Zooey
Deschanel), and his overbearing, overprotective but loving mother Elaine
(McDormand). When Anita, tired of her mothers unwillingness to accept the
music she listens to and the life she leads, leaves home to fulfill her dream
of becoming a stewardess. But before she goes, she tells young William that
there is a gift waiting for him underneath his bed, and there she has left
him her entire record collection. He begins to listen to one of the records
and instantly becomes hooked to the world of rock and roll. He becomes
consumed by it, and soon enough (the story skips fours years at this point),
William writes articles for his high school newspaper, but hits it semi-big
when he meets hardcore music lover and critic, Lester Bangs (Phillip Seymour
Hoffman), whose personal life is nothing much to write home about but still
becomes a mentor to young William, though cynicism certainly has taken its
toll on the aged hippie, he still loves music and being surrounded by his
records. William then gets the opportunity of a lifetime, as Rolling Stone
magazine hires William (under the impression he is an older, professionally
writer), to do a think piece on an up and coming band named Stillwater, who
will be the opening act for Black Sabbath in his hometown. He is
dropped off at the concert by Elaine (who, believing everyone who listens to
the devils music is a dope head, screams out to William not to use drugs in a
hilarious scene). After being refused to enter backstage, he meets a group of
girls who refers to themselves as Band-Aids (another term for groupies,
except they don’t exploit their bodies but use themselves as muses, to
inspire the music of bands). The group is led by beautiful Penny Lane (real
name Lady Goodman), who takes a liking to fish-out-water William and sees
that has a genuine good heart. William finally meets the band Stillwater,
which is led by lead singer Jeff Bebe (Jason Miller), and Russell Hammond
(Crudup). They play their music for the fans and not the critics, so they
aren’t necessarily kind towards William at first, who is pegged with the
nickname The Enemy. Lester had warned William that rock stars will do
everything in their power to glamorize the world of music with drugs and
booze, but they are not his friends, and he shouldn’t get to attached
to them. But William can’t resist being taken by the charismatic Russell, who
is also having a fling with naive Penny, who believes that she is important
to the group. William is invited to tour with the group for
four before heading to San Francisco with his interview. But every time he
attempts to interview Russell, something always comes up and it is held off
with the promise that it’ll be done soon. Though on the road in the tour bus
(nicknamed Almost Famous), Elaine, who was very reluctant to allow her
son to go, is going through an emotional crisis (Rock stars have kidnapped
my son, she suddenly blurts out to a class she is teaching). Everywhere
William goes, his mother is either on the phone waiting for him or has left a
message with the hotel he’ll be staying at (even a hotel work admits that
Elaine has frightened him). As the tour goes on, Williams’s eyes are
eventually opened to the world he has loved for so long, and that it is not
always about the music or the method of writing the music. Within the band
there is bitterness (between Jess and Russell, who Jeff sees a selfish,
self-absorbed self-proclaimed leader of the group), and when it comes to
human decency, the band isn’t always at its peak (one scene has Russell sell
Penny off to another band for a case of beer, which William resents since he
sees Penny as a person and not an object). In the end though, these people
plow through their own self-dilemmas and reach an emotional core within
themselves that reflects onto those around them. The movie cannot be categorized into any
particular genre. There are moments of comedy, drama, nostalgia, conflict and
so on. We see this wild circus of sex, drugs, and rock and roll through the
eyes of an amateur who is attempting to discover his own meaning within this
world in which he loves. William is the heart and soul of the movie, as he is
the only one who doesn’t allow his own morals to be corrupted by those around
him who take advantage of their image. He is out in the real world for the
first time, and is now inside the box instead of looking in from the outside.
He doesn’t have the presence of overprotecting mom to shelter him from the
reality that has been absent from his admiration for music. William is the
best representation of us, the audience, as we recognize his decisions as
being the right ones. Though the film is primarily about him, there
is moments dedicated to the fictionalized band Stillwater, in which creative
art and commercialized reasoning conflict as the band believes in their
independence, but is eventually won over by a music management company. The
conflict presented is handled excellently, as the band must decide whether or
not being commercially accepted would obliterate what they are trying to do
with their music, and cause the message in their songs to be obsolete. I like
how the story juggles various parts of the story but never sacrifices one for
the other. The story always remains about William, but we also must learn
about those who are influencing his life more so now then ever. The performances by everyone involved are
stupendous, as Crowe has ensemble one hell of a cast. Newcomer Fugit anchors
the movie down with his wide-eyed innocence and creativity, and soaks in more
knowledge about the world by merely observing and instead of asking
questions. Crudup’s performance is also superb, and gives his character a
moral dilemma that he doesn’t even know exists within himself. His final
scene with Fugit is a touching one, as he comes to terms with himself and the
admiration that Fugit has reined upon him. And then there is of course the
two actresses who do electrifying performances, but unfortunately never share
a scene together. Hudson is the perfect in the role of Penny Lane, with her
sweet and angelic eyes piercing into our minds and heart. She is charismatic
and charming, and extremely endearing as her intentions towards others,
though at times childlike and naive, are always truthful and honest. The only
person she is lying to is herself; as she sacrifices her own desires to just
belong in the world. She is also the center of a love triangle with Fugit and
Crudup, as one loves her for her free spirit and honesty, why the other one
never bothers to look at her. Crudup’s character isn’t a horrible one,
just a misguided one. Frances McDormand, of course a revered actress,
gives perhaps her most humorous performances as the mother who is close
minded to her children’s lives and doesn’t respect or even acknowledge the
ear they live in. She believes she is resented because of her love, and is
trapped within her own confliction of protecting her children and allowing
them to find themselves and obtain their own personal freedom. Though she has
many funny moments (one being a confrontation with Crudup over the phone, in
which she doesn’t take lightly to his attempts at assuring her that
everything is fine, You’ll meet the voice at the other end of this phone
and it won’t be pretty she threatens), there are moments where her pain
and unwillingness to let go of her son shine through with an astonishing
amount of emotion. It is truly a wonderful performance. The movie has a great soundtrack, and music
buffs will no doubt marvel on delight over it. I believe that the story has
something for everyone, and highly recommend it. Not for it’s Oscar
nominations or the critical praise. But because it is a gift to experience
such a film with this amount of life and joy. It’s sappy and the outcome is
inevitable, but it earns that right when all is said and done. Crowe has
created something unique and special with this film, and hope that it endures
the test of time in the many years to come. Also, the supporting performances by Lee,
Paquin, Balk, and especially Hoffman give the films its small touches of
greatness. My Grade: A |