As a seasoned film critic who’s seen his fair share of biopics and musical extravaganzas, I must say that “Better Man” is a wild ride that defies categorization. The movie’s audacious blend of autobiographical truth and fantastical spectacle left me both awestruck and slightly bewildered – much like the life of its subject, Robbie Williams.
When I take the stage, it’s like: ‘Oh boy, this is a high-stakes bluff! They’re about to catch on any moment now…!’ This was how the renowned British popstar Robbie Williams expressed his sentiments towards performing, around 2016. With a discography that had weathered numerous storms of mega-fame, his words echo the persistent, uneasy desire not only to amuse but also to misdirect, to exaggerate, and to keep the audience on their toes – all as a means to mask lingering doubts about one’s own worth.
The movie he’s created now is more than just a portrayal; it mirrors the very essence of his story. Titled Better Man, this film offers a somewhat fictionalized account of Robbie Williams’ life and career. From his humble beginnings as a brash working-class lad from Stoke-on-Trent, often referred to as “the back end of the north of England,” to his extraordinary journey with Take That in the 1990s, and his subsequent solo success, this movie captures it all. The narrative encompasses the usual themes of addiction, alcoholism, heartbreak, and arrogance. However, it does so with a relentless, creative energy that transcends mere sensationalism, delving into something almost obsessive. There’s an underlying tension as if the director is still concerned we might uncover his secret fears that he’s been playing a charade all along.
For clarity, “Better Man” is helmed by director Michael Gracey, who certainly leaves an impression, but Elton John has undeniably had a hand in shaping the film’s creative direction. The movie carries John’s mischievous theater-kid essence throughout. In this biopic, John provides his own voice, while Jonno Davies portrays him as a British character with a face reminiscent of a computer-generated monkey. At the Toronto Film Festival in September, Gracey and John revealed that the monkey concept originated from the director asking John early on what kind of animal he identified with. Initially, John responded “a lion,” but soon realized he was not fooling anyone and admitted that he saw himself as a monkey – a wild entertainer, whether serving others or catering to his own ego-driven needs.
Remarkably, the central plot device of the film, which is undeniably peculiar (and noteworthy that it’s presented with such artistic finesse and human-like qualities reminiscent of Robbie Williams), isn’t the most astonishing aspect of “Better Man”. That title would belong to the movie’s musical sequences, directed by Gracey (known for his 2017 hit “The Greatest Showman”) with such intense fervor that it leaves us questioning our own reality after each performance. The camera dances around and soars above and delves below the actors, hurtling itself into and through scenes, all while the scenes themselves rapidly change locations and contexts. Actors stride, bounce, spin, and leap in and out of costumes. Ordinary objects like pogo sticks, gumballs, flares, fireworks, scooters, double-decker buses, cemeteries, and country roads are manipulated by the director as if they were clay. Streetlights morph into the raging fires of hell. The fields of Knebworth transform into a medieval battlefield drenched in blood and smoke. This movie isn’t just “crazy” – it’s off-the-charts crazy. Trying to explain it, one might sound like a madman.
The lively, spontaneous feel of these musical sequences is skillfully deceptive. They appear to be improvised, but upon closer inspection, they’ve been carefully coordinated and rehearsed extensively, as demonstrated by the flawless synchronization of movements and cuts, reminiscent of earlier scenes. In what seems to be the film’s most emotional segment, Robbie (played by Matt Bellamy) meets Raechelle Banno as Nicole Appleton, the lead singer of All Saints, on New Year’s Eve at a masked party aboard a boat. Director Michael Gracey seamlessly blends their subsequent duet with flashbacks to their tumultuous, brief romance (which in reality lasted only a year) – their wild parties, engagement, and the abortion Nicole was forced to undergo by her record company to maintain her position as a popular girl-group frontwoman. A graceful dance dip is a memory of a quick, hidden drink at a crowded party. A few jumps into a spinning embrace become a glimpse into one lover chasing another within a shadowy recollection. Despite this, they are still in the early stages of their passionate encounter, creating an illusion reminiscent of a classic musical romance. It’s hard to believe that Robbie Williams has had numerous high-profile relationships or that he’s been happily married for 14 years to someone else.
This movie presents an intriguing contrast: it follows a traditional structure for biopics, filled with predictable lines about the challenges of fame and the dual life of celebrities, including abandonment issues and more. However, these conventional scenes are frequently disrupted by wildly eccentric musical sequences. It’s worth considering if this clash is intentional. Remarkably, the familiarity of the biographical elements helps us adapt to the film’s bold form. If its structure and dialogue were as unpredictable as its style, the movie might have been too challenging to watch. In a unique manner, these contrasting components work together to subvert the musical biopic genre: one by exaggerating its typical elements for satire, the other by launching into an entirely different realm.
At this juncture, some readers may ponder: “Who exactly is Robbie Williams?” This question was addressed at the previously mentioned Toronto screening, where the artist himself acknowledged the predicament with his signature blend of humility and mischievous bravado. He admitted to having minimal North American fanbase and playfully waved to “My American fan down there” in the Toronto audience. However, he quickly assured us that he is quite popular elsewhere, even breaking several industry records in the U.K. Indeed, his fame extends beyond North America.
In the 1990s and early 2000s, I was a regular reader of British pop press, and I must admit, I found Robbie Williams amusing primarily as the Gallagher brothers’ frequent target. Liam would later marry Nicole Appleton. I knew he was a megastar, but the songs I heard barely left an impression. Despite his constant presence in the spotlight, always doing something outrageous or attention-seeking even after achieving superstardom, he was indeed quite irritating. As he himself admitted, he could be narcissistic, punchable, and a shit-eating twit.
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2024-12-24 23:54