The road to banal and disappointingly homophobic biopics of rock legends is, as they say, paved with good intentions. The Queen story/Freddie Mercury biopic has been in the works since 2010, with creative differences amongst the filmmakers made public and Brian May and Roger Taylor apparently exercising tight control over how the story would be told. What they apparently wanted was sanitised, bowdlerised, pasteurised, inoffensive to the delicate sensibilities of an audience that would rather not look too closely at the sexuality of a gay icon. Which sounds absurd, but considering the old man sat near us in the cinema who audibly said, “oh dear”, when Freddie was shown kissing a man… Jesus, they might have had a point.
José expresses his disappointment at seeing yet another gay story in which being gay leads to isolation and unhappiness. Freddie is lonely, surrounded by cats in a vast empty house, pining for a woman. His gay relationships are chaste and the one openly gay character, comfortable with who he is, is cast as a snake, a villain. Freddie’s sexual drive bursts out of his music; are we supposed to believe he experienced no joy in being gay? Brian May – the character – is depicted as a particularly annoying pest, clean, perfect, and forever commenting on Freddie’s lifestyle and behaviour as if to vet it; or perhaps as if to ensure the audience is comfortable. The more we think about it the more homophobic it is.
Our discussion of the film’s attitude to and portrayal of Freddie’s sexuality is central, but two other key aspects to his life also come under criticism – his music, and his death from AIDS. The latter is skated over almost entirely, sympathetically included right at the end to help you feel good about feeling bad for him. The music can’t be hurt, of course, and it’s a pleasure to hear banger after banger, but as Mike says, you may as well go home, read the Queen Wikipedia page and put on the Greatest Hits. What drives the band, what drives Freddie, aren’t things the film appears to have even considered might be interesting questions. Things just… happen. In chronological order. Mainly.
Ultimately we ask ourselves who this film is for. We watch it at a distance, wondering why it is the way it is, not really involved in it until that final act in which Live Aid provides Freddie with the opportunity to make the entire world his own for twenty glorious minutes. And once we get there, everything else becomes insignificant for a while, because it all comes together, the music, the character, and the best parts of Rami Malek’s performance – his physicality and stage presence – and we get to watch Queen for a while. (Or at least a very good tribute act.)
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With José Arroyo of First Impressions and Michael Glass of Writing About Film.