Category: Reviews

In the same calendar year where La La Land took home a variety of Oscars, it seemed somewhat inevitable we’d be treated to more musicals in the coming months. One of which is Michael Gracey’s The Greatest Showman, presenting a fantastical, somewhat contrived take on the life of P.T. Barnum.

Hugh Jackman takes on the aforementioned role, of the idealist who wants to make money and provide for her wife Charity (Michelle Williams) and two young daughter. With a wild imagination, and inclination to pursue his dreams, the man came from some humble beginnings decides to open up a museum that celebrates the weird and the wonderful, though it’s not giving him any success. So he decides to scrap the stuffed animals and seek actual human beings, some with physical deformities, others who are just very talented in the art of performance – such as Phillip Carlyle (Zac Efron) and Anne Wheeler (Zendaya), and he opens up his circus – and it’s a spectacle that brings in punters from all over the nation.

First and foremost, and it’s a rather big issue considering the genre this title sits within, is that the music is really bad. It feels like such a missed opportunity to thrive in the soundtrack of the era the tale is set (late 19^th century) and adopt styles from the music halls of the time, perhaps even with a slight Western-twang. Instead, it’s all very contemporary, pop numbers that just sound so generic and out of place with the grandiose backdrop. What transpires is a very cheesy musical, and while it’s a genre that requires a suspension of disbelief, it’s one that can be so magical and enchanting, and in this instance, it’s just quite cringe-worthy when they break out into song. Particularly the more supposedly poignant moments, where the lead characters almost whisper their lyrics.

Then there’s the other key issue, which comes with the troublesome narrative. We need to invent in Barnum’s cause and adhere to his fantasies, but what he is doing all seems rather exploitative. The opening act of the film is effectively about how he grew up poor, and now is desperate for great riches, wanting to provide a life for his wife he could never given himself. So then when he has this revelation to use people who are hairy, obese, tall, short – it feels like he’s using their unique body shapes to make a few dollars. He keeps citing his wish to merely provide entertainment for the masses, but that seems somewhat secondary to his desire to become rich, and in turn, the whole situation doesn’t sit right. It’s okay if the film accuses him of exploitation, but instead it;’s been crafted in such a way where we’re evidently supposed to root for his cause, not question it.

On a plus side, and the only things that prevent this title from being a true disaster, is that Jackman is terrific, bringing a wide-eyed sense of optimism that is almost infectious, while the aesthetic is certainly striking, with a Moulin Rouge-esque approach, and a stylistic fervour that ensures that while the content is really flawed, at least it looks quite nice.

Stage-to-screen adaptations have become a common stomping ground for filmmakers these days, and the latest is Jersey Boys, reimagined on the silver screen by Hollywood heavyweight, Clint Eastwood.

The film tells the story of Frankie Valli (John Lloyd Young), a gifted singer with a distinctive voice, growing up on on the unforgiving streets of New Jersey, with ties to criminal masterminds such as Gyp DeCarlo (Christopher Walken). However alongside his two closest friends Tommy DeVito (Vincent Piazza) and Nick Massi (Michael Lomenda), the trio see music as a route away from the harsh realities of life. However when the talented songwriter Bob Gaudio (Erich Bergen) joins the group and they rise to stardom, such realities start to catch up with them.

The film begins well, with a jocular tone that’s infectious, as you’re immersed into 1950s America with a quite remarkable production design. However as the film progresses, the more it loses its way, and by the end it becomes something of a farce – with a final act that is enough to turn you off music for good! However, a strong narrative ensures this film is not a complete disaster, with a steady blend between a typical musical biopic and a conventional gangster flick of the Goodfellas mould – a sentiment played up to by Eastwood. This is particularly evident in how our characters narrate to camera, however the star of the show, Frankie Valli himself, seems to be the only character who isn’t given the opportunity to do so.

This is part of why the film doesn’t work, as we’re devoid of any emotional attachment to the role, unable to get inside his head and explore the more intimate aspects of his life. Such themes should be explored in biopics of this nature, however when you can see Valli’s name pop up in the closing credits as executive producer, it all starts to make a lot more sense.