Velvet Goldmine

Slash Fanfiction is when a person writes a story involving two (usually) males characters from a television show or movie in a homoerotic romantic relationship. And this is what Velvet Goldmine is. A visually stunning, incredibly tasty piece of slash fanfiction. But instead of Kirk & Spock or Mulder & Krycek, it's someone who's a lot like David Bowie and someone who's a lot like Iggy Pop. Perhaps that appeals to you. Perhaps it doesn't. But despite its fanfiction feeling, this movie is absolutely visually stunning. The imagery will last with you long after you leave the movie, your eyes blinking as you adjust to a rather grey drab world. The movie isn't about substance, it's about style; about creating and rearranging yourself to fit the time, to fit the world around you. It's about fluidity, fluidity of gender, personality, ideas, and romance. Because, like all Slash fanfiction, above everything else, it's a love story.

I saw Goldmine years ago and it remains one of my favorites. Everything about this movie is amazing- from the music, to the costume and the actors.

Here we get a young Christian Bale as a struggling kid trying to grow up in the age of glam rock. The confusion of trying to be who you are and the confusion of trying to figure out who that person is, something that is understandable to anyone who has ever been a teenager. Like so many, he finds himself in music- that of Brian Slade. Meyers is outstanding as a lowly boy who makes it with the big boys. He plays the climb to fame brilliantly and the demise of glam rock with emotion. Toni Collette adds the flare that is necessary and shows the true strength in what a woman will do/put up with for love. She is a delight and she plays well with Meyers. Ewan McGregor is also terrific as Curt Wild, the perfect half to Slade's glam.

The music is what Goldmine is really all about. Meyers and McGregor sing some of the tunes themselves, but the addition of Radiohead's Thom Yorke to the mix as well as the boys from Placebo are an excellent addition to an already great soundtrack. Adding Lou Reed seems like over kill, but I'll take it- if there is anything that I learned from watching Goldmine many times- is that the bigger the better.

This is a great coming of age movie- it is a bit adult. There are heavy issues here such as drug abuse, alcoholism, adultery, homosexuality, orgies...be aware-

Todd Haynes' fantasy rethinking of an era in rock history, as a David Bowie-like singer in the early '70s burns out and disappears, and one of his most ardent young fans--now a music journalist--interviews friends and colleagues hoping to get at the truth. Past-and-present collage isn't given a very pointed treatment (once the narrative has gone a certain distance, a flashback dating back even further in time drains the immediacy out of the proceedings), though the design of the picture and the personalities involved are very colorful, as is the soundtrack, a mix of newly written tunes and classics. The U.K. truly got a colorful slice of the glam-rock era (as opposed to the U.S., which pretty much missed the boat--and the musical point), and the film, mostly set in England, nails that distinctive time and place with embracing accuracy. Haynes is also shrewd enough to remember the particular talents impersonated here were not the originators of the scene--that all musical trends date back, and nothing is ever truly original or lasts forever. The cast is uniformly excellent: sexy, decadent, kinetic, nervy. Haynes isn't a master of the outré (like, say, Ken Russell), but neither is he a junky or disrespectful filmmaker, and even in the lowest moments of their lives, this crazy collection of hedonists still look and sound pretty great. **1/2 from ****

It is quite an extraordinary experience to sit through this film years after its controversial outing back in the distant 1998. Like many of the great pieces of art, or wine for that matter, time gives it that extra something that evolves its taste into something that you crave. The erotic innocence of the story is very much Oscar Wilde territory. Innocence, yes. - I've been arguing about it with some people about the inclusion of the word, if not the feeling, innocence in this context. I insist the word is perfectly fitting because at the end of this rainbow there is the longing for love. Ewan McGregor's cock is already famous the world over - and with reason - here it dangles across his frame like a child, unaware of his own nakedness. Jonathan Rhys Mayer is a delight. Strange to see him in feathers after "Match Point" and yet it makes a lot of sense. Christian Bale one day, will leave behind the pouting arrogance that is rapidly becoming his trademark - even as Batman - and come back to the glorious promise he insinuated here. All in all a triumph, Todd Haynes style.

I first learned of Todd Haynes with the release of his 2002 drama "Far from Heaven", starring Julianne Moore as a 1950s housewife who develops a relationship with her African-American gardener after discovering her husband kissing a man. It turned out that Haynes had been making movies for some years by that point, including 1998's "Velvet Goldmine". This Academy Award-nominated spectacle is a look at the glam rock era, with Christian Bale as a reporter trying to find out what became of a glam star from the early '70s. This movie has it all: drug use, orgies, sexual fluidity, and everything else that was characteristic of the era.

It's not a masterpiece, but damned if the cast members don't put their all into the roles. I recommend it, but mind you, this is NOT a fluffy, "Almost Famous"-style look at '70s music; there are some shocking things here.