EXCESS ALL AREAS
THERE’S AN ELEPHANT in the room. Empire knows it. Dexter Fletcher, the director of Rocketman, knows it. He knows that whenever anyone talks about his movie, this comparison will be made. It’s lazy, but unavoidable. And, as with all elephants in the room, it must not be ignored. It must be addressed head-on. So, how does Fletcher feel about the [UK department store] John Lewis Christmas ad, which managed in two minutes what he hopes to achieve in two hours: namely, tell the life story of one Reginald Kenneth Dwight, aka Elton John?
“I had a day of, ‘Genius! Bastard!’” he laughs. “It’s a bloody Christmas ad, innit. But if it makes people more keen to see a film about Elton’s life, then it’s all grand and good.”
Ever the actor, he pauses for effect. “Hopefully it’ll be as good as the advert.”
OKAY, THERE’S ANOTHER elephant in Rocketman’s room. One that’s harder to ignore. It’s bigger, for one thing, coming dangerously close to crushing the furniture.
This is a movie that tells the story of an iconic British rock star who shot to fame in the 1970s, wrestled with drink and drugs, was conflicted about his sexuality, and was managed by John Reid. It also features one Dexter Fletcher in the director’s chair.
As luck would have it, that perfectly describes two separate movies. is one. The other is , the Queen biopic that, despite a critical mauling, was in production before was released, the comparison will be made. It’s lazy, but unavoidable. And, as with all elephants in the room, it must not be ignored. It must be addressed head-on.
