From the very first shot, Rocketman sets Elton John apart, as he walks into rehab, dressed in a flashy, sequin-covered devil costume. Its glowing orange color brightly contrasts the other addicts in the room, immediately setting him apart from "ordinary" people. Likewise, the movie is anything but ordinary. The story of one of pop music's biggest idols is full of exciting musical numbers and tender, quiet moments, both portrayed by a strong cast. While it does have a few tiny missteps, Rocketman is a thoroughly enjoyable film that stands tall above other music biopics.
The story is told through flashback as Elton John (Taron Egerton) sits in his rehab circle, beginning with Elton--then known as Reginald Dwight--at a young age. True to his real experiences, Reggie's life at home isn't a happy one. His father is emotionally (and often physically) absent, and his mother's zest for life keeps her in her own little social bubble rather than actively raising him. But the Dwights do have quite the record collection, and Reg quickly learns to play a tune by ear. It's a moment that stops the family's busy-bodying and sees them actually paying attention to him, a foreshadowing of the star status he'd one day reach behind a piano onstage.
Elton's story moves through the major beats of his life: joining a backing band, becoming a songwriter, recording his own records, and achieving rock star levels of success. It's the real path his life took, but some lines delivered along the way do come across as trite. In context, the soundbite from the trailer about "killing the person you were born to be in order to become the person you want to be" feels contrived, not inspirational.
Also true to Elton's life is a downward spiral of drug and alcohol abuse--the movie is bookended by his time in a rehab clinic, after all. We see the effects of these illicit substances when Elton gets irrationally angry or goes on stage completely stoned, but there is no key scene that highlights when the problem first enters his life, no moment when he is first tempted. Elton's first manager, Dick James (Stephen Graham), makes a point of telling him to avoid drugs, but they're rolled into the movie in a passive manner, simply showing up in a few shots during musical numbers. Considering this abuse is the driving force behind the movie's darkest scenes, it's strange that drugs and alcohol aren't given that much attention when they first become an addiction for Elton.
Of course, Elton's sexuality cannot be ignored either, and it's the other half of what moves the plot forward. Looking for true love from another man sets Elton apart from his colleagues, but his standing in the movie improves each time he embraces who he is and shakes off the bigotry. His first on-screen kiss comes just before he gets life-changing advice from soul singer Wilson (Jason Pennycooke), and his first record deal is signed just after he comes out to his then-girlfriend. It's an encouraging lesson in being yourself, and Egerton does an excellent job portraying Elton at the peaks and valleys of his career.
At its core, Rocketman is a jukebox musical, using Elton's greatest hits to usher in significant moments in his life; a young Elton's first gig at a pub is framed by "Saturday Night's Alright for Fighting." But it's not his voice you hear singing the songs--it's Egerton's. This can be jarring at first, not hearing the voice of the man whose life is the basis for the movie, but it's quickly justified when other characters join in the music. Hearing other actors singing with Elton John would likely have sounded strange, so instead we're presented with covers. It works; it's a lovely variety of voices.
The musical moments are elevated by more than just the singing itself. These scenes are essentially Elton's internal monologue made external, letting us see the world the way he sees it, and it's when we get Rocketman's best bits of cinematography, editing, and costume design.
Every song is painted with magical realism. When "Saturday Night" kicks off, we follow young Elton (played at this point by Kit Connor) out the door as an actual bar fight breaks out and through a fence to a flashy carnival, where Elton's age jumps ahead by a few years as Egerton himself enters the story. "Crocodile Rock" sees Elton and the crowd slowly rising into zero gravity, while "The Bitch Is Back" features Elton in the loud orange devil costume while the rest of the world moves around him in desaturated colors.
These are the most exciting moments of the movie, featuring a variety of real-life costumes Elton wore onstage or during interviews. One notable number features Elton spinning around while playing his piano, moving through a series of fun yet ridiculous costumes each time the piano rotates. It's a treat watching these would-be music videos highlight bits of Elton's life.
The show tunes have a tendency to quickly smash back into reality, but the supporting cast shines even when they're not singing along. Elton's perpetual songwriting partner Bernie Taupin (Jaime Bell) is shown as a longsuffering friend who wants Elton to return to the good old days, and Bell and Egerton have a very warm chemistry on screen. Bryce Dallas Howard's take on Elton's mother Sheila is a believable portrayal of a woman who can't come to terms with who her son is. Richard Madden is sinister as John Reid, Elton's one-time manager and lover; you can see the ulterior motive behind his eyes as he makes both business and romantic moves. Even the tertiary characters stand out, with Tate Donovan's club promoter Doug Weston stealing the show every time he's onscreen.
Rocketman is a stellar experience, marrying Elton John's real life with beautifully executed musical numbers to elevate itself beyond a standard biopic. Each song is packed with flashy costumes and fun choreography that feel more like one of Elton's concerts than a movie being projected onto a screen. While it might stumble in introducing some of his vices, its tender moments of him embracing who he is and living his best life are absolutely heartwarming. It's a wonderful tribute to one of music's most important figures.
