One moment in “Rocketman,” director Dexter Fletcher’s jukebox musical biopic of Elton John, provides goosebumps. John (Taron Edgerton) and his lyricist Bernie Taupin (Jamie Bell), are trying to find their first hit song. He’s played strains of “Daniel,” and “I Guess That’s Why They Call It the Blues,” for record executive Dick James (Stephen Graham), but James wants something upbeat. Then Elton John is seen performing “Your Song,” and it is absolutely magical. The soulful rendition of this beautiful, heartfelt ballad conveys exactly what it is about John and his music that connects with his legion of fans. The scene is so stirring it might even induce tears.
“Rocketman,” however, is engineered to razzle-dazzle, which it mostly does as it follows the conventional biopic rules of chronicling the subject’s childhood, their initial success, setback(s), and comeback. Fletcher, working from Lee Hall’s script, frames John’s story through the lens of the performer in rehab, looking back on his life. But the narrative device is a little hoary and almost unnecessary given that the film devotes dramatic scenes to John’s recovery.
But as a means to stage lavish musical numbers featuring fabulous costumes, and showcase John’s greatest hits, “Rocketman” soars. It is terrific fun to see the child Reggie Dwight (Matthew Illesley) perform “The Bitch Is Back,” or the teenage Reggie (Kit Connor) belt out an infectious version of “Saturday Night’s Alright for Fighting” in a pub and the streets. These numbers are buoyed by Fletcher’s sure-handed direction — as he moves the camera to follow John, viewers go along for the ride. He uses this same technique effectively throughout the film, most notably, when John enjoys success (a shopping montage) to the tune of “Honky Cat,” or during an endless, whirling, 360-degree pan of John performing Pete Townsend’s “Pinball Wizard” at concert after concert — another nifty set-piece.
The story is designed to show how John craved love. His father (Steven Mackintosh) withholds affection, and snipes at his son for being “soft” when he shows interest in music and his mother’s dresses. His mother (Bryce Dallas Howard) is only slightly warmer. It is his grandmother (Gemma Jones) who sees the young Reginald’s talent and takes him to the Royal Academy of Music, where he proves he can play what he hears.
He eventually performs a paid gig for a soul act. The experience is transformative: John gets his first kiss (from a guy) and the advice to write some songs. Enter Bernie Taupin, a lyricist who bonds with John over music and more, yielding a remarkable, inseparable friendship and collaboration.
Music, the film suggests, is John’s escape from his drab life. With his flamboyant costumes and energetic antics on stage, John becomes colorful, and more importantly, somebody people love. John’s performance of “Crocodile Rock” at the Troubadour in Los Angeles wins over the assembled crowd. He also captures the eye of John Reid (Richard Madden), who becomes his lover, and later, his manager.
Their relationship which starts out with the guys being unable to keep their eyes and their hands off each other, is affectionate, but it becomes disaffecting once Reid insists Elton come out to his parents — two equally awkward scenes — and then betrays him. These events drive Elton to heavy drug and alcohol abuse.
It is in the downbeat third act that “Rocketman” stops being fun, and songs like the title track, performed underwater at first, along with “Benny and the Jets,” do the heavy lifting to carry the addiction narrative. Much of the film is dedicated to John’s self-destructiveness, which includes a suicide attempt. (Alas, John’s song, “Someone Saved My Life Tonight,” is noticeably absent). This drama may generate sympathy for its subject, but it causes the film to sag. “Rocketman” drills home the message, “It’s OK to be who you are,” when viewers may prefer to a song like “I’m Still Standing,” to convey John’s deliverance more efficiently and effectively.
Nevertheless, Fletcher’s film is mostly entertaining. The director sometimes overdoes the visual effects, as when Elton John actually blasts off while performing the title track, but he stages some impressive fantasy scenes, such at the Troubadour, where John and the crowd literally rise off the floor in ecstasy.
Edgerton, who performs all of the songs, gives an ingratiating performance. He exudes charisma, even when an empty, broken John looks at himself in the mirror snorting coke and taking another drink, numbing himself before a show.
He is ably supported by Jamie Bell who sings “Goodbye Yellow Brick Road” during one of the film’s poignant moments.
“Rocketman” features high-energy musical numbers and some bleak moments — which one expects from a story of Elton John’s life. But even with all the fantasy elements in this look at the larger-than-life performer, the pure, emotional scenes stand out.