Almost Famous Review
by Shannon Patrick Sullivan (shannon AT morgan DOT ucs DOT mun DOT ca)October 12th, 2000
ALMOST FAMOUS (2000) / ****
Directed by Cameron Crowe from his screenplay. Starring Patrick Fugit, Kate Hudson, Billy Crudup. Running time: 126 minutes. Rated AA for coarse language by the MFCB. Reviewed on October 9th, 2000.
By SHANNON PATRICK SULLIVAN
"Almost Famous" is the sort of movie that really shouldn't work as well as it does. The coming-of-age film is as overused a genre as any, seeming pretty much tapped out. But "Almost Famous" does work, splendidly. Writer/director Cameron Crowe has fashioned a semi-autobiographical piece which, although adhering broadly to the expectations of the genre, has a genuine, honest quality to it far outstripping its usual coyness and artificiality.
Certainly, the closeness of Crowe to his subject matter is important to the success of the film. Like William Miller in "Almost Famous", Crowe was a teenaged reporter for music trade paper "Rolling Stone" in the 1970s. It is not hard to imagine that he found himself in situations similar to many of those depicted in "Almost Famous". While there has no doubt been some manipulation for dramatic effect, Crowe has managed keep things authentic. As a result, instead of a young character drifting through clumsily-staged set pieces, "Almost Famous" features a young character on a believable journey. He is transformed and matured not in great bounds but subtly and gently, almost without our realising it.
William (Patrick Fugit) is a preternaturally intelligent fifteen year-old. William's university professor mother, Elaine (Frances McDormand), struggles to nurture her son while protecting him from the vagaries of the world. Her efforts have already driven away William's older sister Anita (Zooey Deschanel), the last straw being Elaine's condemnation of rock and roll (grabbing a Simon and Garfunkel album, she points at their eyes and intones, "Pot"). Anita, though, leaves behind her record collection for William, and this leads to his burgeoning interest in the rock scene and a meeting with famed critic Lester Bangs (played by Philip Seymour Hoffman; Bangs is a real person, one of several actual industry figures populating the movie).
Bangs' encouragement of William's writing leads to a commission from "Rolling Stone" editor Ben Fong-Torres, ignorant of William's age. With Elaine's grudging permission, William goes on tour with up-and-coming band Stillwater. Originally intending to spend only a few days with the group, William soon finds himself going cross-country in pursuit of his story. Along the way, he cultivates relationships with a number of unusual people, including Stillwater guitarist Russell Hammond (Billy Crudup) and an elusive follower, Penny Lane (Kate Hudson).
The crowning glory of Crowe's script is his characters. There is not a throwaway role to be found; every individual is well considered and the casting is universally inspired. Newcomer Fugit is a real find. William could easily have come across as a pencil-necked geek or a precocious naif, but Fugit hits all the right notes in all the right measures. His William is unusually talented and uncommonly sheltered, but that selfsame intelligence breeds adaptability. William is sensible enough to recognise the cutthroat nature of the music scene: to Stillwater he is "the Enemy", and while the band occasionally forgets that, William does not. He is an innocent, but he is by no means stupid.
Also terrific is Hudson as Penny, William's tour guide of sorts in his odyssey. Penny Lane, we learn from the end credits, was inspired by a real person, but she seems as much derived from Elton John's "Tiny Dancer" -- "pretty-eyed, pirate smile". (It is probably no mere coincidence that this song plays during one of the movie's more cathartic moments.) Penny is an enigma, but a mostly benevolent one, and Hudson clearly delights in her complex mannerisms and motivations.
Crudup is well-cast as Russell, and plays particularly well off Fugit and Jason Lee, who portrays bandmate Jeff Bebe. Russell is a musician ill-prepared for fame, and consequently he seems sometimes arrogant, sometimes carefree, sometimes self-destructive, sometimes simply lost. Bebe, Stillwater's front man, accuses him of trying to usurp his authority (Russell is supposed to be "the guitarist with mystique") but this not entirely intentional on Russell's part. He is as much finding his way as William -- and perhaps more so, because William can at least avoid the limelight.
Finally, McDormand does a terrific job as the put-upon Elaine, struggling with her dual responsibilities of encouraging William's interests while shielding him from harm. Having already lost one child, Elaine abhors the thought of repeating her mistakes, but at the same time is unwilling to simply throw William to the wolves. Her inner conflict is in some ways the movie's most absorbing.
Crowe has also assembled an excellent supporting cast, including Hoffman as William's mentor (obviously having fun with his words of wisdom -- his musings on the role of the critic and the reason why he's always home when William calls are hilarious, but still ring true), Deschanel as the rebellious Anita, and Fairuza Balk and Anna Paquin in small roles as Penny's fellow "Band Aides".
Crowe's pacing is terrific, giving exposure to not only William's experiences but also the crises facing Elaine, Russell, Penny and others. Not unexpectedly, Crowe has assembled an enjoyable soundtrack of Seventies music (plus some Stillwater "originals") but this does not interfere with the movie; it sits in the background for the most part, adding to the ambiance.
Indeed, Crowe's only misstep is a clunky scene set on an airplane. Intended to spark emotional climaxes between many of the characters, it feels intrusive -- all the more so because the rest of the film is so wonderfully un-stagy. This may have been intended as a parody of the many aviation incidents which pepper rock history (certainly, there is a sharp strain of satire running through "Almost Famous") but it is too heavy-handed at such a critical juncture of the story. Even a bit of levity at the end feels awkward.
Even this miscue cannot detract from the movie as a whole, however. Wonderfully written and acted, "Almost Famous" is an incredibly entertaining and moving film, the sort of moviegoing experience which is to be treasured long after the house lights go up. This is the best movie of 2000 so far.
Copyright © 2000 Shannon Patrick Sullivan.
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