Velvet Goldmine | | Cast : | Ewan McGregor, Jonathan Rhys-Meyers | | Director : | Todd Haynes | | Studio : | Miramax Home Entertainment | | Format : | Color, Widescreen, Closed-captioned | | Released Date : | November 06, 1998 | | DVD Released Date : | March 01, 2005 | | Language : | English (Dubbed), English (Subtitled), English (Original Language) | | Audience Rating : | R (Restricted) | | | BUY THIS DVD FROM AMAZON |
Customer Reviews
| Rating |  | | Date | August 02, 2005 | | Summary | Crazy movie | Content
 | I bought this movie because I love Ewan McGregor, and you get to see him naked. The movie is highly homosexual, and sexual in general. The performances are top-notch. It is amusing to me to see straight actors acting homosexual, but they pull it off well. I didn't live in the 60s & early 70s, so I don't know how true-to-life the movie would seem to people who were there, but in my opinion, Velvet Goldmine is a kooky look at the early glam-rock scene. Makes me glad I didn't live it, but it's fun to watch. |
| Rating | | | Date | August 02, 2005 | | Summary | Glam Rock and Excellent Acting Lives On! | Content
| With a to die for cast (Ewan McGregor, Jonathan Rhys-Meyers, Christian Bale, Toni Collette, Eddie Izzard, and many many more) this movie portrays much more than the life of rock stars it portrays wit and witticism, hear and soul, and at the core true love on all levels. |
| Rating | | | Date | July 28, 2005 | | Summary | Love Letter to Ziggy Stardust | Content
| An oddball film that chronicles the rise and fall of an early 1970s glam rock star, Velvet Goldmine almost defies categorization. While separating fiction from fact can be tricky, the story is based pretty much on the life of David Bowie; some details have been tweaked for dramatic effect, but there's surprisingly little deviation from just about any biography that's ever been written about him. The non-linear narrative takes the viewer into the glittery world of one Brian Slade (Jonathan Rhys-Meyers) and the entourage surrounding him. Slade had created an alter-ego for himself called Maxwell Demon (as Bowie created Ziggy Stardust), and the character had almost come to eclipse Slade himself. After an on-stage stunt literally backfires, Slade's fans revolted against him, and the singer vanished into drugs and obscurity.
His story is conveyed in flashbacks when, in 1984, journalist Arthur Stuart (Christian Bale) is assigned to write a tenth anniversary retrospective on Slade and perhaps uncover the singer's ultimate fate. Arthur interviews Slade's first manager, Cecil (Michael Feast) and then his bitter ex-wife, Mandy (Toni Collette), and from them pieces together Slade's early background as a musician, including the players who proved crucial to his career: maverick second manager Jerry Devine (Eddie Izzard), unstable proto-punk rocker Kurt Wild (Ewan McGregor), and deceptively shy wardrobe mistress Shannon (Emily Woof). Arthur of course is no mere bystander to all these events; the unfolding story reveals that he was a huge fan of Slade, turning to music as an escape during his troubled adolescence. In digging up Slade's past, he also unleashes a lot of his own demons, and the story is just as much Arthur's as Brian's.
Although the film stands as a loving homage to glitter, it also doesn't hesitate to reveal that the core of the phenomenon was essentially empty. Somehow, Velvet Goldmine manages to both celebrate and condemn glam rock: Slade starts his career as a naive singer-songwriter with some interesting and unusual ideas, but once Devine's corporate machine takes over, Slade's creativity is stifled to the point where he's a prisoner of his own artifice. Ultimately, the pre-fabricated exterior is all that's left of him.
Teasing out the narrative thread is no easy feat. Velvet Goldmine is liberally draped in yards of trappings: musical interludes, documentary sequences, images that often go unexplained and don't add much; there's characters, scenes, and plot threads that serve no purpose other than window dressing. Some of this proves effective (a take on early music video is a real hoot), but much of the excess could've been trimmed away in the interests of tightening the story. While Arthur's investigation into the Slade mystery is handled well, other plot elements needed more attention.
Bowiephiles will recognize every phase of their idol's early career: the dapper mod, the curly-haired hippie, the cross-dressed singer-songwriter, the flamboyant glam rocker (there's even a very fun poke at Serious Moonlight-era Bowie that cleverly ties into the main plot). The characters mirror exactly those in Bowie's orbit, but viewers who don't know the characters and don't get the jokes/ references are apt to find themselves baffled, not to mention put off by the film's excesses.
Anyone willing to sift through the spangles and feathers, however, will be rewarded with some terrific acting. Ewan McGregor is mostly wasted as the unstable Kurt Wild--he has a couple of knockout performance sequences, but Wild otherwise spends most of his scenes drugged out and exploding in angry diatribes; although McGregor gets top billing, Wild is really a supporting player. Izzard is a lot of fun as the oily Devine; Woof handles Shannon's transformation from innocent schoolgirl to shrewd operator with aplomb; Feast is terrifically droll in his work as the ignominiously discarded Cecil. Bale is utterly fearless as Arthur: he has to put across a lot of weakness and shyness and self-doubt, as well as Arthur's sexual awakening. Many actors wouldn't have touched this character with the proverbial ten-foot pole, but Bale handles the material--including one humiliating moment in Arthur's life--without the slightest hint of self-consciousness. Toni Colette is a marvel, taking her character from naive party girl to cynical rock wife to jaded, washed-up ex--she's funny and subtle and outrageous, suggesting a deep and genuine love for Brian, pain and betrayal when he essentially dumps her for Kurt, and finally weary bitterness that the world at large has forgotten her. Of all the characters, Mandy seems to have truly loved the wild circus of glam rock, and she longs for the past with a touching sense of nostalgia.
As terrific as all these performances are, the film belongs to Jonathan Rhys-Meyers, whose turn as Bowie is nothing short of riveting. A kind of raw sexual energy seems to pour out of him; he's magnetic, and much like Bowie himself, it's impossible to take your eyes off him. The physical resemblance is particularly uncanny, and Rhys-Meyers gets all the little details down perfectly: the expressions, the posture, the body language. Like Bale, he tackles the role head-on, and it's a testament to his skill that he conveys such depth of emotion through layers of costume, wig, and makeup. Even his reedy voice evokes the young Bowie, and yes, that's him singing in four different numbers (two of them were left off the movie's soundtrack CD). This role, more than any of his others, brings home the depth and extent of JRM's talent. Everyone in the film is stellar, but only Rhys-Meyers seems touched with genuine prodigy. Anyone who admires him as an actor shouldn't miss him here.
Velvet Goldmine's other great strength is its music, which consists of classic tunes from the era, as well as songs specifically written for the film. The overall effect is of a long-lost Bowie album, and it's a pity that two or three show-stoppers were left off the soundtrack. Music is of course inextricably linked to story in this type of film, used to illuminate character and propel the narrative. A couple of set pieces don't work, but mostly the music is wonderful, melding perfectly to the visual images and adding depth to each scene.
Velvet Goldmine plainly isn't a movie for everyone, and almost certainly some would find it unwatchable; mileage will vary greatly depending on one's tolerance for gay characters, men in drag, and a heightened sense of camp. There's also a *lot* of sex (gay, straight, group, and solo) and full frontal nudity (male and female)--the film is rated R for a very good reason. Velvet Goldmine can probably be summed up as a diamond in the rough--the viewer may need to do some chipping, but the glittering facets that are revealed make the effort worthwhile. |
| Rating | | | Date | July 05, 2005 | | Summary | the best movie i have seen in a long time | Content
| I have been a HUGE fan of Ewan Mcgregor for a long time. I recently saw a post in my livejournal about this movie and had screen caps from the movie and when people found out i hadn't seen it they all yelled at me and told me to BUY IT NOW so i did and it was the best decision I ever made. This movie is full of glitz and glamour and beautiful men. the story is so touching of how easy it is for people to get lost in the music business. I would recommend this to everyone. If you are a ewan fan or a johnathan rhys meyers fan definitly pick this movie up you will love it! |
| Rating | | | Date | May 31, 2005 | | Summary | In some mysterious way their lives had been his own..... | Content
| First off this is not a movie for anyone who is homophobic. Also, if you don't want to see nudity, beautiful people decked out in gorgeous costumes. Lots of sex and the occasional orgy stay away. This is going to be a dust collector.
As for me I can put this on play forever and although I know every line I still can't help but be fascinated by it. It draws you in to it's own little world much as the character of Arthur gets drawn into the world of Glam Rock. You'll need the soundtrack eventually because it's fabulous. Executive produced by Michael Stipe with performances from Brian Eno and Placebo, as well as Ewan McGregor and Jonathan Rhys Meyers. It includes some music from the era such as Roxy Music's "Ladytron" but also originals such as "TV Eye" written by The Stooges(of Iggy Pop & the) for the film.
I never can make up my mind who the lead character truly is. Arthur(Christian Bale) tells the story, Ewan McGregor gets top billing but we know that happens all the time-especially when you have a relative unknown like Jonathan Rhys Meyers in what should be the lead role. Then Ewan comes in as Curt with this raw charisma that steals every scene. Toni Collette looks about a million miles from Porpoise Spit as she just fades away from partner and supporter into the background role of the celebrity wife.
Arthur 10 years later is still running from who he is, probably still struggling with his own sexuality. No one really knows who they are any more except maybe for Curt, but he always did, and maybe it is in speaking the truth without the mask which he never wore that he is free.
On the rooftop after a performance so wrenching it's as though he is physically letting go of his relationship with Brian onstage, he offers this sexual freedom to Arthur. Yet at the same time he tells him "I will mangle your mind".
Yes after viewing this movie for the first time without knowing the Bowie, Iggy Pop, Lou Reed, Citizen Kane, and Oscar Wilde references and the cameo appearances your mind will be mangled-so you will just have to watch it again and pay closer attention this time. "Do you jive?"
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