Well, if we get the sensation that the musical biographies in the cinema sound like photocopies of each other, resounding in the common themes as self-destruction, family dysfunctionality and amorous nonconformities, in "Rocketman" the device that interweaves all these "common places" comes of a disintegrated "person" context.
Let me explain: in the first minute of seeing Taron Egerton incarnate his character, he is interpreting the character's character, the artistic alter-ego. Even because Elton John is only a mask that is being deconstructed when the protagonist starts with his narration.
There we experience a prolonged flashback that captures the artist's onirism and his musical fantasies, with the goal of getting intimate. Even because "Rocketman" is admittedly a musical, rather than a drama that stirs in the music of others.
This is his best weapon and, at the same time, his great weakness: if, on the one hand, it is the musical that assumes itself as a creative turning point in the portrait of this life, it is also its insertion that emphasizes the intention of schematization, without ever forgetting his "best hits" attitude. And as for the proposed approach to the "true" Elton, musicality only instills an intention of it.
Taron Egerton is brave enough to go beyond the "mask" he was charged with, concentrating the musician's tics while creating a parallel with him (possibly an alternative "person"). Unfortunately, he will not be the savior of an artificial film that enjoys its artificiality as a recurring weapon.
Improved than its cousin "Bohemian Rhapsody", this "Rocketman" only comes to perpetuate the march of overdue formulas that blinks the prize season.
"Rocketman": in theaters on May 30.
Review: Hugo Gomes