The
uncoolest of us rock fans can only imagine what life would be like on the road
with our idols. Cameron Crowe’s “Almost Famous” gives a semi-autobiographical
snapshot of this fantasy, taking us on the tour bus in a 1970s rock ‘n’ roll adventure.
An entertaining and seemingly honest cinematic depiction of rock culture,
“Almost Famous” is a born crowd-pleaser complete with Crowe’s amusing-yet-believable
script and performances from a sublime cast.
The film is
lead by protagonist 15-year old William Miller as he stumbles into the chance
of a lifetime: to spend a few weeks on the road with his favorite band,
Stillwater, and write an article about them for “Rolling Stone” magazine. Throughout his struggles, William gets
tossed in a love triangle, finds support from famous “Creem” rock critic Lester
Bangs, and gets caught up in where his true allegiance lies: to his new famous
friends or his journalism career.
The script is dripping with cornily charming quips
that have undoubtedly been quoted in many obnoxiously pretentious Facebook
statuses. However, Crowe still manages to make the poetic lines collectively
feel real. Most resonating (though dangerously close to becoming cheesy) was the
fictionalized version of critic Lester Bangs’ phone conversation with William
about staying true to your dorky self in the life of rock criticism: “The only true currency in
this bankrupt world is what we share with someone else when we're uncool.”
Even more memorable from “Almost Famous,” however,
were the movie’s remarkable characters. Though all actors were impeccably casted, two transcended
above the rest. Kate Hudson gives what is arguably the most charismatic and
emotional performance of her acting career as band-follower Penny Lane, the
girl at the center of the movie's love triangle. Frances McDormand (“Fargo”) also
brilliantly portrays William's mother—she perfectly illustrates a mother
struggling to find the balance between smothering her children and giving them
their freedom.
The
film pays lip service to a few music-related issues: the struggle between
commercial acceptance and remaining true to one's art, and the difficulties
faced by band members who constantly wane in and out of friction with each
other. Being a daughter of a bigwig in the music business who has spent most of
his adult life on tour with famous rockstars, I have experienced first-hand the
truly confusing mess the industry can create of a person. Upon entering the
music business, a forth wall starts to dissolve that used to block the
mysticism of the rockstar lifestyle. They are now coworkers in a sense, and
along with them, everyone wants to be your friend. But eventually, the truth of
the business is uncovered—it is a world full of jealousy, deceit, reputations,
wealth and most importantly, fame, so much so that in order to succeed there is
pressure to follow suit in the corrupt pathway. Crowe definitely brings this
ugliness of the industry out—perhaps not enough—exposing the back-and-forths in
William's mind as he begins to wake up to his heroes' humanity and realize
their blemishes.
Though constantly entertaining, “Almost Famous" begins
to lose momentum towards the close of the film. The end is dragged out far too
long, leaving the audience wondering which tearful embrace will be the last. Also,
the script unsurprisingly starts to lose authenticity in its Hallmark-card
sendoffs.
But this being said, the movie as a whole stands as an
excellent film on all accounts. From the deliciously sentimental script, wonderfully
talented actors, and exceedingly truthful depiction of the music business and
rock criticism, “Almost Famous” is a movie that—though including the necessary
elements of sex, drugs
and rock 'n' roll—you’d happily watch with mom.
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