Cameron Crowe is a genuine master at creating films that convey the complexities of being a gentle person in a harsh world - people with warm hearts challenged by callous, calculating brains. "Almost Famous" continues with his thematic ambitions, but he falls a little short this time. This film was simply too sweet. Not to discredit it altogether; it is definitely worth seeing once, but it does not remain with you like "Jerry Maguire" or "...Say Anything". Despite some stellar details in the film, it feels as if every scene is constructed to make you tilt your head sideways and say "Aww" like you were looking at a newborn kitten. The film is too saccharine and too cute when its story and many of its characters suggest something darker & deeper.
Based on his own experiences as a teenager, Crowe's alter-ego William Miller finds himself a 15 year-old rock critic under the wings of the legendary critic Lester Bangs (Phillip Seymour Hoffman's brief performance is the best one in this film as he continues to prove that his talent alone is reason enough for going to the movies). William is assigned by Rolling Stone magazine to tour with the fictional mid-western rock band Stillwater (a composite of Crowe's travels with Led Zeppelin, The Allman Brothers Band, and the Who, among others). He is befriended by Stillwater's somewhat mercurial songwriter-guitarist Russell Hammond (Billy Crudup makes great use of an underwritten role supposedly based on Glenn Frey of the Eagles), and Russell's groupie-du-jour, Penny Lane, who prefers to think of herself as a "Band Aide" (Kate Hudson gives a dynamic treatment to a character written without a past or a future). William is desperately trying to pin Russell down for just one interview, but while on the road William has trials. The sort of trials that others may share, but never in the manner he has them (how many guys can say they lost their virginity in a hotel room orgy when they were 15?)
This is certainly more of a coming-of-age story than a rock star story, although many are quick to hail this the greatest 70's rock 'n roll movie (I'm quicker to claim "Boogie Nights" for its accurate depiction of sex, drugs & fashion - despite the lack of actual rock music). It seems a little trite that a 70's rock band on the verge of fame engage in little more recklessness than drinking beer and fondling teenagers. The absence of such decadence makes this film seem a little softer than Russell's character sometimes suggests. Even though Crowe's focus is on the characters and not the lifestyle, I really didn't care for anybody, including William - simply because it's so obvious he's too smart and too earnest not to land on his feet. The relationship between Russell & Penny is kept a mystery to both William and the audience. While William's young age may prevent him from understanding what connection the pair have, the audience isn't so clueless. Crowe never fully divulges what Russell & Penny share, and any mystery surrounding their union never builds because the characters are underwritten to begin with. Russell & Penny are arcane people only because rock n' roll lore dictates that illusive groupies and moody guitarists are supposed to be mysterious, but its never actually fleshed out in their behavior or dialogue. Otherwise, Frances McDormand and Jimmy Fallon give good supporting roles, as does Jason Lee as the typical loud-mouthed, ego-driven lead singer Jeff Bebe (although Lee's character is not a far cry from those he's played in Kevin Smith's films). The best bit of the film - and one of the most accurately honest scenes I've ever watched - is the airplane sequence, where the threat of a potential crash gradually sends the band into horribly specific confessionals. It is one of Crowe's finest achievements in movie moments.
Crowe for certain, has got his heart in the right place and has also done some of the details right as well. Early in the film, William listens with wonder to the Who's "Tommy" album while a candle burns at the suggestion of his sister, a signature rock n' roll gesture when someone hands down a particularly "important" album. There is also the hyped-up teenager who roams a hotel hallway worshiping a magic marker that was recently blessed by the hands of Led Zeppelin. These are infinite rock n' roll moments for thousands of people that Crowe lovingly splurges on! Its just too bad he didn't do it more often with his characters.
Based on his own experiences as a teenager, Crowe's alter-ego William Miller finds himself a 15 year-old rock critic under the wings of the legendary critic Lester Bangs (Phillip Seymour Hoffman's brief performance is the best one in this film as he continues to prove that his talent alone is reason enough for going to the movies). William is assigned by Rolling Stone magazine to tour with the fictional mid-western rock band Stillwater (a composite of Crowe's travels with Led Zeppelin, The Allman Brothers Band, and the Who, among others). He is befriended by Stillwater's somewhat mercurial songwriter-guitarist Russell Hammond (Billy Crudup makes great use of an underwritten role supposedly based on Glenn Frey of the Eagles), and Russell's groupie-du-jour, Penny Lane, who prefers to think of herself as a "Band Aide" (Kate Hudson gives a dynamic treatment to a character written without a past or a future). William is desperately trying to pin Russell down for just one interview, but while on the road William has trials. The sort of trials that others may share, but never in the manner he has them (how many guys can say they lost their virginity in a hotel room orgy when they were 15?)
This is certainly more of a coming-of-age story than a rock star story, although many are quick to hail this the greatest 70's rock 'n roll movie (I'm quicker to claim "Boogie Nights" for its accurate depiction of sex, drugs & fashion - despite the lack of actual rock music). It seems a little trite that a 70's rock band on the verge of fame engage in little more recklessness than drinking beer and fondling teenagers. The absence of such decadence makes this film seem a little softer than Russell's character sometimes suggests. Even though Crowe's focus is on the characters and not the lifestyle, I really didn't care for anybody, including William - simply because it's so obvious he's too smart and too earnest not to land on his feet. The relationship between Russell & Penny is kept a mystery to both William and the audience. While William's young age may prevent him from understanding what connection the pair have, the audience isn't so clueless. Crowe never fully divulges what Russell & Penny share, and any mystery surrounding their union never builds because the characters are underwritten to begin with. Russell & Penny are arcane people only because rock n' roll lore dictates that illusive groupies and moody guitarists are supposed to be mysterious, but its never actually fleshed out in their behavior or dialogue. Otherwise, Frances McDormand and Jimmy Fallon give good supporting roles, as does Jason Lee as the typical loud-mouthed, ego-driven lead singer Jeff Bebe (although Lee's character is not a far cry from those he's played in Kevin Smith's films). The best bit of the film - and one of the most accurately honest scenes I've ever watched - is the airplane sequence, where the threat of a potential crash gradually sends the band into horribly specific confessionals. It is one of Crowe's finest achievements in movie moments.
Crowe for certain, has got his heart in the right place and has also done some of the details right as well. Early in the film, William listens with wonder to the Who's "Tommy" album while a candle burns at the suggestion of his sister, a signature rock n' roll gesture when someone hands down a particularly "important" album. There is also the hyped-up teenager who roams a hotel hallway worshiping a magic marker that was recently blessed by the hands of Led Zeppelin. These are infinite rock n' roll moments for thousands of people that Crowe lovingly splurges on! Its just too bad he didn't do it more often with his characters.