Emboding Bob Dylan is an almost impossible task. And no fictionalized dylan is as good as the real one from Da Pennebakers Don't Look Back. But Timothée Chalamet comes inLike A Complete UnknownNear, damn close. Even though the star of the hour does not sing the same nor looks like Bob Dylan (both rather better). In general, chalamets hypnotic performance goes far beyond pure mimicry. It doesn't get a gimmick, but it isbeDylan,seineInterpretation that he incorporated into the tiniest detail for over five years. With great charisma and self -image, he plucks the guitar and blows the harmonica as if he had never done anything else, sings all the iconic songs with perfectly unfit to intonation and technology, as if they were his own, speaks just as snodderly and devoured, even smokes (( Marihuana) cigarettes as if he were inhaling the spirit of the master. It is not just Timothée Chalamet that electrifies in every way: Monica Barbaro as Joan Baez,When Pete Seeger, Boyd Holbrook as Johnny Cash - everyone plays and sing themselves, live and outstanding.
But not only as an artist, but also as a person, the actor Dylan meets awesome: he is just as cheeky, witty, arrogant, obvious and vulnerable, just a trace of more obvious and more present than the original - Timothée Chalamet even awakens the faith in the viewer, his thoughts - and to know emotional world. And at the same time, Chalamet reveals almost nothing about Dylan as a person, which is not necessarily a lack of his acting, but a conscious decision - James Mangold's film does not mean for nothingLike A Complete Unknown. It is more of a film about the phenomenon than about people Bob Dylan, which looks at it through the distorting lens of fantum and fame. He researches the effects of this sudden fame on a very young artist, whose channeled talent is already full at this time, but whose personal development as a man is only half trained. At this point, the identity coated several times - the sunglasses at night, the fast motorcycle, the ironic grin and rehearsed disinterest - comes into play, under which Dylan wraps to protect his true self.
Photo: Disney
Going Electric: Bob Dylan (Timothouse Chalamet) discovered inLike A Complete Unknownthe electric guitar in itself.
However, as shown here, Dylan's calling was also shown in self and reinvention, which also includes his departure from the traditional folk to the blues and rock inspired by electric guitars. This change culminates in the film, which on Elijah Wald's bookDylan Goes Electric!Based, at the Newport Folk Festival 1965 including the legendary "Judas" call (and not like back then in the Free Trade Hall in Manchester a year later). The fact that the film ends with Dylan's "electrification", i.e. plug in the electric guitar, has another advantage: despite all biopic characteristics deviceA Complete UnknownNot to the typical ascent-Fall-Reue-Comeck narrative, because this runs exclusively upwards, albeit nervous and uncertain.
Finally, for the myths -tangled final sequence, Swiss chard, who is already a directorWalk The LineIt had proven how a music biopic works, a lot of time how the film generally takes as much time for music like no other. In the playlist with almost two and a half hours of term, HIT lends himself to hit. Is thereLike A Complete UnknownNot only a tribute to Dylan's incredible creativity in this phase of his career and the effect that the songs had on his audience, as well as the lively feeling for a certain time and a certain milieu, but also a tribute to music as an art form And their irrepressible power and her disarming potential when it is in the right hands.
Bob, Freddie and Elvis: These are the best music biopics ever
No question, the biopic format may have never been as popular as today. Next toLike A Complete Unknownthere are many other music films, we think in the recent pastBohemian RhapsodyAbout Freddie Mercury orElvis. We have them15 best music biopics everselected for you.
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WithElvisBAZ Luhrmann created a tribute to the "King of Rock 'N' Roll", in the style that is appropriate for the life of the protagonist and so typical for Luhrmann:Fast, bright, intense. Austin Butler embodies the star and the phenomenon of Elvis Presley with thenecessary mixture of power, charm and vulnerability, and makes the distant optical similarity to the "King" all the more brew through his Moves. Mimics, gestures, vocals - here someone has been urgently concerned with the musician. The tragedy of his figure is especially inambivalent relationship to his manipulative managerColonel Tom Parker, played by Tom Hanks in the Fatsuit. Elvis wanted to tour Europe and make large Hollywood films, but Parker wanted to make quick money on site because he didn't have a passport. Probably the biggest dramaturgical mistake in Luhrmann is in theChoice of narrative perspectivethat does not come from Elvis himself, but from Parker. In this way, it can fascinate and complain with a bad accent for hours that it hurts in the last third - not least because ofHanks' underground representation(even recognized with the golden raspberry). The otherwiseauthentic backdrops and costumesinterweave with oneBrilliant arranged soundtrackthat forms the heart of every scene. AndButler stands above everything, between fame and personal tornness, two components that defined Elvis' life.
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Of course, a biopic can also deviate or condense a little in favor of the storyline, but this was certainlyToo much of the lack of biographical correctness. The narrative sound of the Queen-Biopics is very successful, it contains all the important songs and its protagonistsmove damn close to the original. Above all, Gwilym Lee as Brian May and the Rami Malek, which was awarded to the Oscar, as Freddie Mercury are very convincing in their imitation. In addition to facial expressions and gestures, it is also the LIP Sync that Malek masters. Unfortunately, the actor does not visually come to the iconic front man. All the more annoying is the oversized dental prosthesis - even Mercury did not have such a flush - which sometimes lets him drift into strange. In addition, the ambivalence between Mercury's hedonism and his secretly lived sexuality, its real and his stage personabraverly depictedcan become. Nevertheless: with a global pick -up result of over 900 million dollars remainsBohemian Rhapsody The most successful film phemandography so far.
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The biographical music film, personally co -produced and approved by Sir Elton John,Both the bright and the dark moments of his careerto show, that shows thatClassic scheme of a music film-Disgusting ascent followed by excesses and deep fall followed by the "I-War-vom-Ruhm-hidden-be-e-Habe-out-meinen-errors" wisdom-wisdom. But despite the dramaturgically conventional formulaRocketmanless biopic thanglittering musical show full of hits, which represents Elton John's life in a colorful, almost surreal light. Taron Egerton also plays the dazzling musicianwith exceptional depth and sings everything yourself, while director Dexter Fletcher the nuances of John's lifecapture as relentlesslyAnd nothing leaves - not even its queer existence.
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In most biopics, a trivialization of violence is criticized, here the opposite was the case: the vivid and borderline scenes were exaggerated for many. But the fateful history of Anna Mae Bullock alias Tina Turner cannot be glossed over. ThePhysical and psychological abuse by her sponsor and husband Ike Turner, Terrifyingly well played by Laurence Fishburne, was not one that she had experienced once in her childhood and could transform as an adult through Katharsis into art. The years of brutal ill -treatment by Ike intensified throughTina's increasing fame and its increasing paranoiaEven - until the singer was finally able to free herself after several failed attempts and, as "Queen of Rock 'N' Roll", one of themost unlikelyany timesStarted. Similar to Fishburne Ike, Angela Bassett (both nominated for the Oscar) Tina Turner also misses oneintensitythat was rarely noticeable on the canvas. The more subtle early scenes between the two overlooked, which show how the clear relationship between the artists is revealed by ike's abuse. However, it is thatExplicit and real representation of domestic violencethat makes this film so strong because it remains invisible to everyone away from it.
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A straight-line biopic about the country legend Loretta Lynn, which revolves around social rise and that everything is possible. The film is characterized by itsauthentic representation of the musicianand her breakthrough in the scene. Sissy Spacek, who sings the songs himself and was personally selected by Lynn for the role, trulies the development from an inexperienced young woman to the country icon. Spacek is thereabsolutely credible, regardless of whether she represents Lynn as a teenager in love, stressed working mother or as a "Queen of Country Music", and rightly got an Oscar. But everyone else, by Tommy Lee Jones as Lynn's husband to Levon Helm from the Band to Beverly d'Angelo as Patsy CLINE, also show strong performances. Director Michael Apated relies on a sober, earthy style that focuses on music and human struggle. Aunpretentious masterpiecethat is characterized by its authenticity.
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A shaking portrait of theBeginnings of the gangsta rap pioneers NWA. The authorized biography of F. Gary Gray illuminates-sometimes a little too glorifying-the crucial years in which the hip-hop group around theRapper Ice Cube, Eazy-E und Dr. DreDespite resistance and controversy, their unique sound developed. Strong performances, especially Corey Hawkins, Jason Mitchell and Ice Cubes son O'Shea Jackson Jr., capture the energy and determination of the collective. At the center of the film are theinternal disputes, faustic deals and tour excesses, that in the intensive atmosphere of their appearanceFuck tha Policeculminate in Detroit.Straight Outta Comptonis adynamic and provocative contemporary witnessa cultural movement and its undeniable effect on hip-hop.
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Milos formans wonderfully entertaining historical drama aboutMale competition and the secret of the genius. Based on Peter Shaffer's play, the director provides Wolfgang Amadeus Mozart's life and the(supposed) rivalry between the ingenious composer and his contemporary Antonio Salieriin the foreground in the 18th century. Tom Hulce plays Mozart with a mixture of childlike innocence and ingenious eccentricity, while F. Murray masterfully embodies Salieri's envy and admiration. The film not only captivates through the music, but also by thedeep psychological character drawingand thatDilemma between divine inspiration and human vanity. A work that set standards in the music biopic genre and was accordingly awarded eight Oscars.
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SID and Nancy-so to speak, the rock'n'roll equivalent to Bonnie and Clyde-is one of the greatest films about punkruthlessly shows boredom, disillusionment and miserywho stood behind the short and overwhelming flowering period of the anarchic anarchic anarchic rage of the genre. Alex Cox tells the love story of Sid Vicious, Enfant Terrible and Bassist of the Sex Pistols, and heroin -addicted Groupie Nancy Steps, which after the end of the bandAnnoyed version of Romeo and JuliaHand in a New York Chelsea Hotel. Vicious, whoseSelf -denial charisma extremely attractively embodied by Gary OldmanIf it is long for the drug heroin and that of the Rockstar-Ruhm, to which he had just got used to. And Chloe Webb as his fragile girlfriend delivers an equally impressive presentation.
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Yes, in the film it is called Jimmy "B-rabbit" Smith Jr., but theParallels to Eminem's own biographyAre obvious - the rapper himself emphasized that the action plays according to his story. Is there8 Mileless the full life story thanRather, a powerful moment in Marshall Mathers' lifeAka Slim Shaady. Under the direction of Curtis Hanson, Eminem shows the music in his musicsame vulnerability and opennessThe oneRough, combative reality of the protagonist reflects. The drama draws an impressive picture of life in the working class of Detroit, embedded in the pulsating world of the rap battles. WithCorrecting dialogues and an unmistakable soundtrack(Best song Oscar forLose Yourself) creates8 MileAn urgent portrait of a young man who fights against his circumstances and discovered his own voice. Without Hollywood fantasies and pathetic happy ending.
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Okay, this film is not a biography of a real band. The fictional group of still water, about which it is inAlmost FamousAbove all, it is onlyBased on certain bandsFrom the seventies, especially the blues rock formation. This in turn has the director and screenwriter of the film, Cameron Crowe, butactually accompanied on a US tour. For a title story inhis time as a young music journalistat theRolling Stone. At least that's how it isstrongly autobiographical film adaptation(Oscar for the best original script) from Crowe's own life in teen age, in which other real authors such as the music critic Lester Bangs (great as always: Philip Seymour Hoffman) appear. Otherconvincing performancesComing from Billy Crudup as rock star Russell Hammond, Kate Hudson as Groupie Penny Lane or Frances McDormand as the mother of Crowe's character William Miller, played by Patrick Fugit. And even if Crowes smells the entire story of the clichédy "sex, drugs & rock 'n' roll-fabric", it has happened-one way or the same. Funny and strange, romantic and tragic, sad and with a happy ending.
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Clint EastwoodsDestinent homage to the jazz saxophonist Charlie "Bird" ParkerAnd a film of remarkable intensity. Less than classic biopic and more than onelong sequence of impressionistic sequenceslaid out, here areDevelopment of Parker's revolutionary sound and his heroin addictionAlso in focus, embedded in the nightclub scenes of the forties and fifties skillfully staged by Eastwood. Forest Whitaker offers onegripping performance of the Bebop pioneerAnd dives deep into the complex psyche of the genius by exuding the joy, passion and agony of Parker's creative process. Withincomparable enthusiasm for jazzand onedeep understanding of human natureClint Eastwood supplies withBirdA fascinating interpretation of the tragic life of one of the most influential musicians of the 20th century.
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James Mangold's biopic about Johnny Cash is one of the best music films because it isCash's creative and personal relationship with June Carter focuses onandBoth roles are perfectly occupied. Dieopposite chemistryBetween the musicians, embodied by Joaquin Phoenix (Oscar nomination as the best main actor) and Reese Witherspoon (Oscar as the best leading actress), makes up and off the stage. Phoenix proves to beExtremely intense character actor, when he embodies Cash's rough aesthetics and inner demons. That was also absolutely necessary because Johnny Cash's life wasFull triumphs and tragedies from the beginning- From his childhood as a cotton picker in Arkansas and his brother's accident death in a sawmill to the discovery of the blues during his unfortunate time in the military and his contract with Sam Phillips as "Man in Black" in the Sun Studios in Memphis and alcohol and Drugs that cost him his first marriage. Phoenix, who is one with this roleHuge career jump made, of course, would also have earned the Oscar. But WitherspoonMaybe even put it in the shade, because she can almost convince us that this is actually about her - or should go.
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Ob, U2, Depeche Mode, Nick Cave or Tom Waits: The Dutch photographer Anton Corbijn got some of the greatest stars in front of the lens,often dark and always honestphotographed. So it is hardly surprising that Corbijn's feature film debut over Ian CurtisOne of the most stylish biopics everhas become. However, that should not mean that the director beautified or downplayed something here in any way. On the contrary, thatMelancholic black and white drama about the singer of the post-punk band Joy Division, who committed suicide at the age of 23, be completely evaded by the typical clichés. Curtis did not indulge in any illusions during his short life. He suffered from epilepsy and depression, from a failing marriage and the increasing celebrity of his person - Ian Curtis (astonishingly similar: Sam Riley) had nothing under control. Riley plays Curtisadequately intensely, sensitive and awkwardAs adeeply disturbed soulthat channeled her pain through the music until it finally became too big.
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Some may reduce him to mimicry, but what Jamie Foxx invested in order to become Ray Charles for 152 minutes is almost scary and deserves the greatest respect. Foxx embodies the soul legend, which was strongly involved in the film, but died shortly before the shooting ended,virtuoso and inimitable down to the smallest detail- from the look to the shuffling passage to the voice and the piano playing - and he completely convinces in hisAbility to show a blind man with credibleby interpreting it at all as such, but as one. But the main actor, which was awarded to the Oscar, also catchesCharles' Brillion, wit and tornnessAwesome. In addition, director Taylor Hackford authentically records the dynamic era in which Charles created his unique fusion from Soul, Country, R 'N' B, Rock 'N' Roll and Gospel. Withpowerful performances and a detailed representationrevealed this timeRayThe struggles and triumphs by an artist who, despite great personal challenges, went his own way. ARemarkable portrait of an extraordinary talentand oneunforgettable musical voice. Despite conventional narrative, the Biopic does not let go of you from start to finish because Charles' Story was not common.
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How can you do the life of- to summarize one of the greatest shape converters of pop music - in a single film? By like Todd HaynesBiographical elements, contemporary contexts and dylans song textsconnects to a creative, almost dream -like kaleidoscope. To do this, he shares the songwriterIn six different rolesOn: by Cate Blanchett and Christian Bale to Heath Ledger and Richard Gere to Marcus Carl Franklin and Ben Whishaw, the audience is led by various aspects of Dylans Persona. The director does not use chronology and pure biography in order tomore comprehensive sense to grasp how Dylan redesigned the world, while he was constantly reinventing himself over the years.I'm Not Thereis abrave and unorthodox excursionIn the life and work of Bob Dylan, which may only be an amusement trip through various looks and feeling film styles on one level, but on a lower level the singer/songwriter is the greatest compliment by oneCreates exploration that is as lively as the man he honors.
Film tips: In addition to Todd Haynes' spectacular film bibe, there is also, HowNo Direction Home(2005) andRolling Thunder Revue(2019) von.
What exactly are Biopic films?
A filmmography or a biopic (from the English "Biographical" and "Motion Picture") is thatfictionalized film adaptation of a person's lifethat actually lives or has lived-in the case of music biopics, a film about real musicians. This does not necessarily have to be told from the cradle to the bahre, but can also beconcentrate on a certain or several stages of life. It is important that the artist or the bandis specified by nameAnd so that it is clear who it is. The director is creative in the implementation of the story, the genre is not defined and can, as in the case ofRocketman, also contain musical elements. Music biopics are thus bound by other music films such asLA LA LANDorA Star is Bornoff, thefictional storiestell, even if artists like Lady Gaga play in it. The music drama of the Coen brothers, for example, is a special case, for exampleInside Llewyn Davis, which tells a week from the life of the folk singer Llewyn Davis (Oscar Isaac) in New York in the 1960s, but is inspired by the life story of the real musician Dave van Ronk.
