Velvet Goldmine Reviews

Rich in verve and cinematic personality, 1998's Velvet Goldmine perfectly encapsulates the glam rock scene of the 1970s and is one of the most distinct and fresh-feeling musicals of the '90s. Although not explicitly based on true events, the screenplay by writer-director Todd Haynes (I'm Not There) draws inspiration from real-life musicians, using personality traits and biographical details to create composite fictionalised characters reminiscent of David Bowie, Iggy Pop, and Lou Reed. With a recognisable cast of rising stars who were relatively unknown at the time, Velvet Goldmine is a terrific film that also takes visual inspiration from '70s music videos and the works of Nic Roeg and Robert Altman. The infectious sense of energy seldom wanes, with terrific music and unrelenting visual invention, though it might not be for all tastes.


1984 marks the tenth anniversary of an infamous publicity stunt wherein British glam rocker Brian Slade (Jonathan Rhys Meyers) staged his assassination on stage, faking his own death. To capitalise on public interest in Slade, British journalist Arthur Stuart is assigned to write an article on the elusive entertainer, who withdrew from public life after receiving severe backlash for his death hoax. Beginning the research process, Stuart tracks down several key figures in Slade's life and career, including his first manager, Cecil (Michael Feast) and his wife, Mandy (Toni Collette), who illuminate parts of the singer's professional and personal life. Early in Slade's career, he gained a new manager in Jerry Devine (Eddie Izzard) and showed support for gay culture in the mainstream press, making his bisexuality clear. When Slade first arrived in the United States, the Brit befriended and began working with American rock star Curt Wild (Ewan McGregor), but their tenuous relationship did not last. Stuart immerses himself deeper into the case, which holds significant personal meaning to him, as he idolised Slade as a teenager, and gained confidence through the bisexual singer to come out as gay.

With a structure deliberately reminiscent of Citizen Kane, Velvet Goldmine is non-linear and largely episodic, delving into the lives and backgrounds of its various eccentric characters. Haynes refuses to dwell on a single train of thought for too long, progressing through flashbacks, quirky musical interludes, sex scenes (including an amusing moment with a sex doll) and a range of bizarre non-sequiturs across a range of locations and settings, all delivered with the utmost energy. It consistently feels fresh and exciting, the cinematic equivalent of an exquisite, feverish rock dream. Although jumpy, the narrative nevertheless remains coherent for the most part, with Arthur and his investigation anchoring the story, providing momentum and purpose. The script's verbiage is uniquely engaging and poetic, with portions of dialogue reportedly derived from the writings of Oscar Wilde, whom the movie portrays as the progenitor of glam rock. Due to the film's fast-paced energy, the more conventional dramatic scenes in the third act do stand out and feel noticeably slower, but Haynes's sturdy direction combined with the engaging performances keep the proceedings interesting until the end.


Haynes deploys visual techniques galore throughout Velvet Goldmine, from transitions to stylised credits and different shutter speeds. The style is all the more impressive given that the film was produced the old-fashioned way before computers simplified the process for digital effects. The production design is magnificent, with the movie effortlessly recreating the '70s and '80s, especially nailing the distinct sense of fashion. Understandably, music plays a large part in Velvet Goldmine, and the selected songs seemingly influenced the editorial process, with scenes edited to match each track. Haynes hits the ground running with the delightful, infectiously energetic opening credits sequence set to Brian Eno's Needle in the Camel's Eye, which perfectly sets the tone. The soundtrack also features the likes of Iggy Pop, Roxy Music, Lou Reed, T. Rex, Placebo, and (regrettably) Gary Glitter, furthering the astonishing sense of time and place and giving the movie its unique atmosphere and flavour. Despite carrying the title of a David Bowie track, and despite Brian's deliberate resemblance to the late pop star, the film does not use Bowie's music, as he did not approve of the production despite the director hoping for his blessing.

Still relatively fresh from 1996's Trainspotting but still a year away from Star Wars, McGregor gives it his all here and disappears into the role of Curt Wild, who is a combination of Iggy Pop and Lou Reed. With long hair and outlandish fashion, McGregor embodies pop star traits with utmost abandon, even doing his own singing. Bale is more of a straight man (an ironic term for this character), a relatively normal man navigating the zany world of glam rock. Meanwhile, Jonathan Rhys Meyers convincingly looks the part of an eccentric glam rock singer with a dizzying array of ridiculous outfits and makeup styles. Other performers also make a positive impression here, particularly Australian actress Toni Collette, who creates a distinct and fascinating character with Mandy.


Admittedly, Velvet Goldmine comes up short in terms of emotion, and the style outweighs the substance. But with such a striking sense of style combined with razor-sharp editing and spirited performances from a superb cast, the movie confidently holds together. Its themes about gay acceptance are subtle but relevant, giving the movie some thematic significance beyond its surface-level pleasures. Especially for viewers who can appreciate a touch of surrealism, Velvet Goldmine is a gem.

7.8/10

I am mad by this film.I like glitter rock from then on.