Vol. IX comparative cinema Hannah No. 16 2021 Andrews Reading the Biopic through Persona: 10-30 A Comparison between Bohemian Rhapsody and Rocketman

Personas are the public expressions of a private identity, the performance of personality in the social world. They are particularly visible and familiar in the world of celebrity, where entertainers regularly adopt an alter-ego for performance. This has intriguing consequences for biographical representations of performers. Biopic actors are obliged to duplicate the public-facing persona, which is an already-known, semi- fictional construction, and the private individual beneath. The narrative of the biopic must account for this relationship between the persona and the person who authors it. This article explores this process in two high-profile rock biopics,Bohemian Rhapsody (2018) and Rocketman (2019), comparing their different approaches to reproducing and exploring the persona of their subjects in performance, style and mise en scène.

Keywords PERSONA BIOGRAPHY BIOPIC BOHEMIAN RHAPSODY ROCKETMAN FREDDIE MERCURY

Date submitted: 02/12/2020 Date accepted: 19/03/2021

Hannah Andrews [email protected] orcid.org/0000-0002-9198-2294 Senior Lecturer in Media, Film and Television at Edge Hill University, Ormskirk, UK. Her research focuses on intermedial and industrial relations between cinema and television, and representations of real people on screen. Her book Biographical Television Drama has recently been published by Palgrave Macmillan. Her work on biographical film and television has been published in Adaptation, Journal of British Cinema and Television, Critical Studies in Television, Journal of Screenwriting, Journal of Popular Television, and Screen.

10.31009/cc.2021.v9.i16.02 11 Vol. IX Article comparative cinema No. 16 HANNAH ANDREWS 2021 Reading the Biopic through Persona: A Comparison between Bohemian Rhapsody and Rocketman retraces theband’s stellar though Freddie Mercury (RamiMalek). It charismatic, enigmatic front man rock bandQueen, withafocus onits 2018) dramatizes thelives of the Rhapsody (BryanBohemian Singer, biopics viatheconcept of persona. recent British/American musician film. representation of real people infiction to seethecomplexity inherent inthe through thelens of persona enables us this persona. Reading thebiopic but theprivate individualthat adopts public face of thehistorical person, Actors must embodynot only the the bodycanhousemultiple selves. Persona complicates thisfurther, since the implied “real” historical personage. bodies of theactor, thecharacter and contend withtheco-presence of the body too much,” where thetext must historical filmshave theproblem of “a Jean-Louis Comolli(1978)noted that actor performing asthebiographee. problematized by thepresence of an film or television, though, thisis meaning andvalueof persona. In then, provide an exploration of the representations of entertainers, of astar alter-ego. Biographical entertainment inthemaintenance particularly visible intheworld of its presentation andreception. Itis meaningful intherelationship between performance of identitythat ismade version of theself, aconstructed persona studies. Persona isapublic scrutiny, thanks to thedevelopment of an object of increasing scholarly the mask. The maskitself hasbecome to represent the “real” person behind figure while simultaneously promising recognizable recreation of thepublic generic expectations by producing a public andprivate lives. Biopicsfulfil the dynamicbetween asubject’s audiovisual form—is to accountfor biography—whether inwritten or This essay willcompare two One of the central tasks for of persona takes placeat thelevel “author” of their persona, themeaning individual may appear to bethesole the individualand social. While an identity, butistheinterface between is not only asubject, aself oran private; andsecondthat apersona interplay between thepublicand the of persona willalways involve the implications: first, that analysis 2020, 75). This hastwo important (Marshall, Moore andBarbour but to present them to theworld” worn, not to obscure ourfeatures, “Personas are mutable publicmasks Moore andKimBarbourargue that reconstruction of thestar persona. these filmscontributes to their how thediscourse circulating around marketing materials, to demonstrate paratexts, includingpromotional and the filmswithan examination of their will combineclose textual analysis of celebrity selves inpublicandprivate. I produce areplication of these how performance, style andnarrative conceptual lens of persona, exploring will analyze thesetexts through the confessions to histherapy group. I motivated by hisbiographical which are framed ashismemories, then told inextended flashbacks various addictions. Hislife story is a rehabilitation facility to cure his narrative beginswithElton entering an extravagant celebrity persona. The Elton’s personal life of maintaining 2012), itdramatizes thecost to biopic (Marshall andKongsgaard the genre conventions of themusic phases inhislife. Inkeeping with numbers that illustrate various John’s hitsare reframed asmusical fantasy jukebox musicalinwhich Elton John (Taron Egerton) into a the biography of singer-songwriter (Dexter Fletcher, 2019)transforms charity event in July 1985. Rocketman peak, theirperformance at theLive Aid tumultuous career untilitsputative P. David Marshall, Christopher DOI: 10.31009/cc.2021.v9.i16.02

12 Vol. IX Article comparative cinema No. 16 HANNAH ANDREWS 2021 Reading the Biopic through Persona: A Comparison between Bohemian Rhapsody and Rocketman Sheryl Hamilton argues that: underneath isthevalidorgenuine self. projection, andthat theperson that thepersona isanentirely falsified 2015), itwould beamistake to assume quality” (Marshall, Moore andBarbour socially-sanctioned character. individual andtheirpresentation of a but between thesupposedly “real” private individualandtheirpublicfront, a liminalspacenot only between the reality. Persona therefore operates in “secondary”or “two-dimensional” For Jung, thismakes persona only a the individualhimself” (1928, 165). a greater share inthemakingthan formation inwhich others often have describes persona asa “compromise performed by anindividual. He expression of thecollective psyche Carl Jung argued that persona isan performers, itapplies to allindividuals. by publicfigures andprofessional to thepresentation of self performed that, rather thanpersona being limited place. Goffman’s text demonstrated enable routinized interactions to take to express status andidentity, andto adopted by people insocialscenarios various performative “fronts” that are Everyday Life, inwhich heanalyses study ThePresentation of Selfin Goffman (1956)inhisinfluential background was drawn onby Erving the disciplineof dramaturgy. This analytical category developed from the Latin term for “mask” andisan The term “persona” hasitsroots in of reception aswell asperformance. with other similar entities. (2009, 11) it, to placeitinalarger category make itgeneralizable, to individuate a person isto make itabstract, to the person. To render something individuating abstraction that is manifestation of thenecessarily original. The persona istheconcrete and yet never subordinate to its person, acopy of theperson, culturally produced trace of the A persona isasocially active, Though personas have a “fictive historical characters both in (2020: 396). labor of performance isalways obvious” acting isalsopresentational inthat the and believably aspossible, biopic to embodythecharacter ascompletely the conventional demandfor theactor categories: while representational in “Mainstream biopicacting blurs these draws onthisideainherargument that naturalism. Colleen Kennedy-Karpat beneath thecharacter inthepursuit of the markers of theirperformance attempting to erase themselves and display, andthelatter entailstheactor performance andconditionsof about thecircumstances of former involves aself-consciousness and representational acting, where the distinction between presentational to mind James Naremore’s (1990) magazines. This argument calls cinema, television, newspapers and representational medialike radio, been managed in, through andfor celebrity personas have historically of selves inthepublicrealm, butthat deliberate strategies for thecreation that personas are presentational, the other. of theindividual, each anexpression of persona are linked through thefigure and Barbour2020, 25). Person and relations withothers” (Marshall, Moore of communicating to, andmaintaining presented andenacted for thebenefit updated projection[s] of identity selves are not fixed but “constantly concept of persona reminds usthat For Marshall, Moore andBarbour, the during thecourse of their personhood. attached may change enormously though theself to whomthisis person necessarily hasa “life story,” and held together by narrative. A attributes attached to anindividual the interpretation of varioussocial is nomore real thanapersona. Itis Actors are required to portray Marshall et al(2015)argue In thisconceptualization, a “person” DOI: 10.31009/cc.2021.v9.i16.02 13 Vol. IX Article comparative cinema No. 16 HANNAH ANDREWS 2021 Reading the Biopic through Persona: A Comparison between Bohemian Rhapsody and Rocketman like. understanding of what celebrities are stardom that accord withacollective reproducing tropes of popularmusic note, their plausibility often hinges on Marshall andKongsgaard (2012, 356) of aperformance canbecompared. As “evidence” against which thisaspect though there isnoequivalent to evaluate successintheseterms, persona afford a better opportunity performs theperson rather thanthe rich itis. Scenesinwhich theactor emotionally convincing andaffectively consider how psychologically rounded, a filmperformance, however, is to The conventional modelfor assessing success at the2019Academy Awards. mimesis goes someway to explain his stage persona to ahighlevel of ability to replicate Freddie Mercury’s Kennedy-Karpat 2020). RamiMalek’s in industry awards (Cheshire 2015; performances andtheirsuccess the criticalreception of biopic media, hasastrong bearingon “evidence,” especially from recorded of persona canbecompared with Donaldson argues: persona canbemeasured. AsLucy Fife and manner—of performances of of bodily gesture, vocal articulation close approximation orreplication The degree of accuracy—in terms of person, their(assumed)private identity. and impersonation of theirpublicpersona The extent to which thisreplication depicted. (2014, 106) relationship to events asthey are and thisbodythusdefines our of how itwilladdress biography, becomes thefilm’s statement and fiction. Theperformer’s body biopic’s relationship to actuality immediate indication of any given the embodimentof alife signalan such, material decisionsabout physical resemblance, andas seem to bedirectly related to Expectations aboutoverall accuracy inconvincing depiction of the xiii). Rocketman persistently plays with Elton, Reg isnever far away” (2017, in asingle person: “when you talkto two distinct personalities embodied often expressed asthough there are assured celebrity persona. This is figure beneath theglamorous, self- personality, theshy, introverted private to refer to one half of hissubject’s uses “Reg Dwight” (hisgiven name) subsumed by thepersona. its suppression a “real” essence authenticity, by implying through celebrities alsoreaffirm ideas of between persona andperson, though, overt andobvious thedistinction and performance (2009, 227). Inmaking cannot distinguish between real person demonstrate thetroubling fact that we crisis inauthenticity” because they celebrities represent a “deep seated its mutability. Hamilton suggests that specific identitywhile alsoshowing creating apersona, anchoring itina and authorship of theindividualin 190). Celebrities reveal thelabor fusion of person andpersona” (2009, always contingent andunstable present a “complex hybrid, the Holmes andSeanRedmond contend, television orphotography. AsSu representational medialike film, performances of self, especially in by regular exposure to celebrity understanding of persona isshaped of persona. Indeed, much cultural manifestation of thephenomenon Tom Doyle’s biography of Elton John Hamilton argues that celebrities and publicpresentation? (2006, 9) we simply asite of self-performance unique, essential, “inner” self, orare and “public” selves? Dowe have any distinction between our “private” questions such as: isthere a contradictory dynamic, fostering they appear, that activates this highly performative context inwhich of stars andcelebrities, andthe It isprecisely themediated status Celebrities are themost visible DOI: 10.31009/cc.2021.v9.i16.02 14 Vol. IX Article comparative cinema No. 16 HANNAH ANDREWS 2021 Reading the Biopic through Persona: A Comparison between Bohemian Rhapsody and Rocketman man?” Wilsonaphoristically replies called Reggie Dwight, get to beasoul does afat boy from Pinnerwithglasses singer Wilson(JasonPennycooke) “how Bluesology, theteenage Reg asks soul working asanorganist intheband persona inasequencewhich, while context for Elton’s adoption of anew (2017, 26). The filmprovides narrative psychologically, abigboost for ” quoting John directly: “changing itwas, name asa “eureka moment” inhislife, Doyle describesElton John’s change of “Elton John” alter-ego at somelength. Rocketman explores thecreation of the between person andpersona, persona. the conflict between person and between two people isusedto literalize film grammar for aconversation screen at thesametime. Conventional two-shots which show both actors on structure, combinedwithwiderangle this eyeline match, shot/reverse shot several more timesinthefilmusing of Elton andReggie isrepeated inner child. The physical co-presence by thisencounter withhisjudgmental show Elton, confused andfrustrated head. Eyeline matched reverse shots point-of-view, smiles andshakes his slightly highangle, to replicate Elton’s filmed inmediumclose-up from a was justified whenI was five,” Reggie, Bitch isBack,” withthelyric starting “I (Fig. 1). AsElton beginsto sing “The perched onatrike, staring back at him dressed neatly inschool uniform and toHe turns seeafive-year-old Reggie, diegetic provenance onthesoundtrack. a bicycle bell, asoundof uncertain Elton isdistracted by thesoundof like asachild?” Musingonhisanswer, therapist askinghim “what were you rehabilitation group, prompted by the The first interaction occurs inElton’s younger self, Reggie (Matthew Illesley). the adultElton interacts withhis most obviously insequenceswhere the co-existence of Reg andElton, To underlinethisdistinction this tug-of-war between Freddie as his family in thebackground visualize between Freddie intheforeground and adjoining room. Aseriesof rack focuses Freddie, whomoves to apianoinan family’s history which visibly bores This prompts adiscussionof the not nameisFarrokh. know hisbirth his girlfriend Mary(Lucy Boynton) does (Meneka Das)istaken by surprise as suburban household, Freddie’s mother middle-class coziness of theBulsara’s At abirthday tea held inthe party name asasceneof familial disruption. the adoption of theFreddie Mercury family. For example, itdramatizes few scenesthat feature theBulsara conflict. Thisisespecially true inthe eschewal of hisheritage for dramatic Mercury. The filmmines Freddie’s between Farrokh Bulsara andFreddie implies very little co-existence film. Elton’s consciousnessthroughout the evidenced by hisregular return to fails to “kill” Reggie completely, as the “eureka” moment, althoughElton parodies cinematic cliché to retain divine inspiration. This fictionalization choir, organ anddrum fill, themusic of by thenon-diegetic soundof agospel This isaccompaniedonthesoundtrack providing Elton hisnew appellation. spotlight picks out John Lennon’s face, a framed photograph of The Beatles. A eyeline, apanandrefocus alighting on his head, andthecamera follows his When asked hissurname, heturns first name of one of hisbandmates. again. “Elton” helies, borrowing the in hiseyes asheisaboutto improvise up of Reg shows theslight hesitation When asked hisname, amedium-close- extemporizing asongat thepiano. (Charlie Rowe). Heimpresses Ray by for musicproducer Ray Williams change hisname. Reg thenauditions you want to be” and adviseshimto were to born beto becometheperson that “you’ve got to killtheperson you By contrast, Rhapsody Bohemian DOI: 10.31009/cc.2021.v9.i16.02 1

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15 Fig. 1: Elton (Taron Egerton) encounters his “inner child” Reggie (Matthew Illesley) during a therapy session. Rocketman (Dexter Fletcher, 2019). Article HANNAH ANDREWS A Comparison Persona: the Biopic through Reading Bohemianand Rocketman Rhapsody between 2021 Vol. IX IX Vol. No. 16 No. DOI: 10.31009/cc.2021.v9.i16.02 16 Vol. IX Article comparative cinema No. 16 HANNAH ANDREWS 2021 Reading the Biopic through Persona: A Comparison between Bohemian Rhapsody and Rocketman him; it’s mytake onhim” (Rocketman: rather than doanimpersonation of tried to doiscapture thespiritof him which he asgospel”:“took “what I’ve delivered theadvice “don’t copy me,” the film, Egerton explains that John is Elton John.” Inatie-inbookfor which proclaimed that “Taron Egerton implied by the film’s poster campaign, Elton John asElton John does. This is Taron Egerton hasasmuch claimto be celebrity body. Ifthisisthecase, us to decouple thepersona from the and portrayed by its “author,” permits a character perpetually beingcreated Conceptualizing acelebrity persona as and circumstance” (2020, 24). shaping effects of stance, projection posture, movement andother performance that includessound, by anactor […]anentirely embodied the projection of acharacter, orrole, that theideaof persona “indicates persona. Malek’s appropriation of theFreddie of Mercury, itimplicitly endorses discussion of theactor’s embodiment fiction, and, given itspositionina Mercury asanamalgamof reality and This statement discursively frames of pure willpower andintelligence.” “[Mercury] invented himself asanact drummer Roger Taylor observes that Rhapsody2019),(Bohemian Queen “Rami Malek: BecomingFreddie” in thebehind-the-scenesdocumentary aspect of hisbiography. For example, the filmfrequently emphasize this (2016, 63). Promotional paratexts for before hebecameFreddie Mercury” to talkaboutany periodinhislife close friend assaying “he never wanted quoteand MarkLangthorne Mercury’s identity. Biographers Matt Richards to erase alltrace of hispre-persona reflects Mercury’s apparent attempt “No looking back. Only forward.” This his namelegally, hegrandly declares 2). Asheannounceshaschanged performer andhisoriginalidentity(Fig. Marshall, Moore andBarbournote mediated simulation of rock music. It read asanironic commentary onthe to mimeonTop of thePops canbe which Queenbalkat beingrequired a disembodiedone. Abrief scene in a spectral presence but, crucially, is palpable beneath theperformance, in hisincarnation of Freddie. mediation between actor andcharacter Mercury singingplacesanextra level of have Malek lipsync to recordings of Rhapsody to the decisioninBohemian John’s real singingvoice. By contrast, inauthenticity caused by the loss of thus compensates for thesense of of disbelief. Self-consciousness remove to thesuspension support sets thenumbers at asufficient framing of thefilmas fantasy musical to thesinger’s persona. The generic performance aswell asbindingthem helping to authenticate theactor’s the mindof theaudience” (2012, 357), biopics, it “unites actor andsubject in actors dotheirown singinginmusical and Kongsgaard argue that when musical numbers for thefilm. Marshall sing theElton John repertoire inthe by theproduction team to have Egerton bolstered by thestylistic choice taken to authorship of theElton role is essence” (2014, 141). Egerton’s claim also seemto reveal somekindof the physicality of acharacter but performances that not only convey accorded thepraise bestowed on parodic) act of mimicry, which israrely “suggests asuperficial(and often is a “devalued” form of acting that as Belén Vidal notes, impersonation can beexplained by thefact that, portrayed biographical subjects. This interviews withperformers whohave Mary Luckhurst (2010)found intheir as real people, as Tom Cantrell and characteristic of actors performing from animpersonation isacommon desire to distance biopicperformance persona asitappears inthefilm. This claiming alevel of authorship over the Inside… 2019, 16). Egerton ishere DOI: 10.31009/cc.2021.v9.i16.02 2 Mercury comparative cinema comparative

17 Fig. 2: Freddie (Rami Malek) occupies the foreground, while his family are present but out-of-focus in the background in a scene in which he announces his formal adoption of a new persona. Bohemian Rhapsody (, 2018). Article HANNAH ANDREWS A Comparison Persona: the Biopic through Reading Bohemianand Rocketman Rhapsody between 2021 Vol. IX IX Vol. No. 16 No. DOI: 10.31009/cc.2021.v9.i16.02 18 Vol. IX Article comparative cinema No. 16 HANNAH ANDREWS 2021 Reading the Biopic through Persona: A Comparison between Bohemian Rhapsody and Rocketman intended to “protect Freddie’s legacy” claim that theirinvolvement was chiefly remaining members of Queen, who ofparticipation two of thethree death. The film was madewiththe made nearlyyears thirty after Mercury’s impossible for Rhapsody, Bohemian Fantasy.” Such authorization was in thefilm’s tagline, “Basedona True divergence from truth. This iscaptured representation for andpermission its benefit from hisendorsement of its in theproduction enables thefilm to 10). This framing of John’s involvement the script’” (Rocketman: Inside… 2019, and gave him ‘incredible free rein on states “Elton knew and trusted Hall creatively. The tie-inbook, for example, Dexter Fletcher to reimagine it screenwriter Lee Hallanddirector control of hisown story to enable the film’s production that Johnceded paratexts construct anarrative about newspaper (John2019). Promotional interviews, andwriting for TheObserver appearances, conducting press Festival inMay 2019, making television the film’s premiere at theCannesFilm publicity activities such asattending Love MeAgain”); andheengaged in song for itssoundtrack (“I’m Goingto and performed anoriginalsignature is anexecutive producer; hewrote John’s involvement inthefilm: he The marketing for Rocketman highlights involvement of thefigures portrayed. both were madewiththe(qualified) authenticity. Interms of authorization, of these contradictory meaningsof represent anuneasy combination Rocketman bearing averified signature. in thesenseof being “authorized,” reconstruction orrepresentation; or or copy; to suggest afaithful is “genuine” asin, not animitation three ways: to meanthat something authenticity canbeunderstood in authenticity whenperformers mime. also emphasizes thecompromise of As Theo vanLeeuwen (2001)argues, and Bohemian Rhapsody Bohemian

signifies simultaneously that they white jumpsuitswithred detailing literalization—their costume of crisp the “rocket man” metaphor—or him into performing. Inkeeping with there to assist him, orto strongarm is unclear, asiswhether they are role of thepeople surrounding Elton natural backlighting, thestatus and Presented insilhouette thanks to staff dancearound hisbody(Fig. 3). through asthemedical anairport Elton’s trolley beingpushed fluidly A dollying long-shot thencaptures painfully hashisstomach pumped. he fights off the oxygen maskand in closeup from abirds-eye angle, as hesings “Rocket Man.” Filmed rescued, thenstrapped to agurney himself into aswimming pool. He party, by overdosing andthrowing film. Elton attempts suicide a at a crucial narrative momentinthe the picture. This sequencerepresents mimicking thebodily positioningfrom October 1975, andsimultaneously at Los Angeles’ Dodger Stadiumin photograph of Elton John performing of Taron Egerton scrutinizing a Inside… 2019)includesanimage Rocketman of authenticity for both films. The original, andthisisakey driver approximation orreplica of an of “authentic” istheclose Taylor. Freddie does, indeed, needMay and this isametatextual statement. This in theirrepresentation of theband, the remaining members of Queen for thefilm’s producers to appease the film’s middle act. Given theneed (Gwilym Lee) duringanaltercation in more thanyou know” says BrianMay one another: “you needusFreddie, Queen’s mutualdependenceupon narrative themeof Freddie and of Mercury may explain theprevalent influence onthefilm’s representation ( 2019). Rhapsody Bohemian Their Van Leeuwen’s other sense tie-in book(Rocketman: DOI: 10.31009/cc.2021.v9.i16.02 19 Vol. IX Article comparative cinema No. 16 HANNAH ANDREWS 2021 Reading the Biopic through Persona: A Comparison between Bohemian Rhapsody and Rocketman Freddie’s interiority, especially the moments in thissequencethat highlight as thefilm’s conclusion. There are brief a lengthy reconstruction of theconcert event at thebeginningof thefilm, and preparation Freddie undergoes for the sequence of thementaland physical rise to fame isbookended by a structure, where thestory of Queen’s is highlighted by thefilm’s narrative of thismomentinMercury’s career Live Aid, in July 1985. The significance RhapsodyofBohemian Queen’s set at much clearer inthefeted recreation in fantastical framing of John’s biography. sits uncomfortably withinthefilm’s fictionalization, thoughonethat intended to lend credibility to the produces asurface-level authenticity images from photographic record “original” evidential source. Replicating and stance—are beingcopiedfrom an performance of persona—gesture as features that combineto make a an Elton persona specific to thefilm, paratexts to claimthat Egerton authors the impulseelsewhere inthefilm’s sense of authenticity.” This contradicts pose inthehopeof achieving some shots of thatglidefrom Isort poseto photos from that event there’s afew Egerton notes that “if you look at the the Blu-Ray discrelease of thefilm, scene inadocumentaryparatext on O’Neill (2019)[Fig. 4]. Describingthe especially photographs taken by Terry John from theDodger stadium concert, a reconstruction of real images of Elton merges afictional musicalnumberwith represent hisdesire for escape. Italso ideation withfantasy images that depression, drug abuseandsuicidal mixes the melancholy reality of Elton’s large sapphire firework. Thissequence off into thesky, transforming into a song onstage andeventually takes he putsonafake smile, concludesthe stage of theDodger stadium, where crew. Elton isfinally whisked to the are amedicalteam and This attempt at close mimesisis an engineering anengineering performance. Two Freddies at Live Aid the popular memoryof Mercury’s of Mercury’s musicalpersona with thus overlays Malek’s appropriation of Queen’s Live Aidset inthefilm of Mercury’s persona. The recreation to the concert popularmemory set supplements therelevance of accurate recreation of theLive Aid narrative privileging andclinically death. have taken placesinceMercury’s post facto criticalappreciations that television documentaryandother ex been constructed through subsequent cultural memoryof theevent has central positionof Queen’s set inthe Queen to Live Aidbutnotes that the significance of Live Aid to Queenand Susan Fast (2006)notes themutual of Mercury’s performance of persona. works through aclose approximation to which Malek’s version of Freddie This sequenceunderlinestheextent presenting itasmediated” (2013, 230). indexing something asauthentic by what Brinch callsa “strategy of rather thanmerging it, itmaintains replicates thecoverage of Live Aid text. WhileRhapsody Bohemian staged version madefor thefiction merge footage of real events witha of computer graphics to digitally Brinch. Brinch discussestheuse mash-up,” asexplained by Sara works along thelogic of the “visual unfold (Fig. 5). The Live Aidscene (Dermot Murphy) watch Queen’s set even Live Aidorganizer BobGeldof which Freddie’s parents, lover and glimpses of thetelevision sets on cameras. This isreinforced by brief conscious gestures tothetelevision expressions, includinghisself- gestures, movements andfacial Malek precisely mirroring Mercury’s television coverage of theevent, with many shots closely reconstruct the huge audience before him. However, as hesurveys thespectacle of the intense extreme close-up onhiseyes ’s Rhapsody’s Bohemian DOI: 10.31009/cc.2021.v9.i16.02

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Fig. 3: The use of silhouette enables the blurring of lines between a medical team, engineers, and celebrity enablers as Elton’s handlers strive to transport him to the Dodger Stadium. Rocketman (Dexter Fletcher, 2019). 20

Fig. 4: Egerton replicates the poses Elton John took at his Dodger Stadium concert documented in photographs by Terry O’Neill. Rocketman (Dexter Fletcher, 2019). Article HANNAH ANDREWS A Comparison Persona: the Biopic through Reading Bohemianand Rocketman Rhapsody between 2021 Vol. IX IX Vol. No. 16 No. DOI: 10.31009/cc.2021.v9.i16.02 21 Vol. IX Article comparative cinema No. 16 HANNAH ANDREWS 2021 Reading the Biopic through Persona: A Comparison between Bohemian Rhapsody and Rocketman of thelikeness. prominence underlines theartificiality for thesake of authenticity, their false teeth may have beendesigned affects hisperformance. Though the mouth andvocal patterns inaway that physically alters theshape of Malek’s thus Malek’s dentures. The prosthetic draws attention to Freddie’s teeth, (Fig. 6). This sequencedeliberately of thedialogue inthemiseenscène straight teeth, reinforcing thetheme pair of red lips, withperfectly white, for theirpre-Queen band, Smile: alarge of theshot of Roger andBrianisalogo incisors. Prominent inthebackground explains that hewaswithextra born Roger (BenHardy) andBrian, Freddie beginning of thefilmwhere, talking to example sequenceinthe inashort mentioned inthefilm’s dialogue, for Freddie’s teeth are frequently Malek’s mouthespecially noticeable. Their recreation for thefilm renders protrude into adistinctive overbite. in histop jaw, which madehismouth by Malek. Mercury hadfour extra teeth Rhapsody is particularly noticeable inBohemian mode willtryto render invisible. This typically filmsmadeinthe realist highlighting thelayers that of artifice of emphasizing theillusionby can have theunintended consequence wigs andprosthetics for thispurpose is known inpopularmemory. The useof this facsimile of aperson whoseimage to allow themto accept, temporarily, audience’s suspensionof disbelief and likeness of thesubject to aidinthe and makeup inthebiopicprovide a individual” (Marshall 2014, 166). Hair implies anoutward appearance of the biopics, since “persona definitionally inthereadingimportant of persona in hair, make-up andcostume. This is level authenticity are instyling: palimpsest for Malek’s reproduction. the oneauthored by Mercury isa now exist. Both are fictional creations; The most visible markers of surface- in theprosthetic teeth worn angelic theme, acontrast to Elton’s Road” onthe soundtrack parallels the refrain from “Goodbye Yellow Brick backlight. Achoral version of the a wooden door, framed inbright white wearing thiscostume, bursts through 7). At theopeningof thefilm, Elton, headpiece withprotruding (Fig. horns large, feathered angel wingsanda bright orange sequinedjumpsuitwith signature costume of thefilm,a most clearly demonstrated inthe of real outfits worn by John. Thisis significance beyond the replication Costumes thushave ametaphoric ( increasingly large and thick costumes” an armor, protecting himself with beginning to choose are abouthaving clothesdefensiveness—“the he’s costumes show hisgrowing cumbersome butspectacular 2019). Egerton observes that Elton’s something for thefilm” (Rocketman not necessarily adifferent Elton, but documentary, we wanted to create creative freedom: “as it’s not a generic framing endowed himmore for suggests inanequivalent paratext costumes, authorized originals. Day access to theirpersonal archives of and, because May and Taylor lent of authenticity: theaccurate replica Here are two of Van Leeuwen’s facets pressure to copy rather thanoriginate. of theband’s outfitsalsocreateda to produce accurate reconstructions theproductionthe opportunity offered Rhapsody are sowell-documented (Bohemian reproduction, sincethelooks of Queen perceived histaskasoneof faithful in adocumentaryparatext that he For shared costume designer, Julian Day. approach to authenticity despite their demonstrates another divergence in personas of theirprotagonists and to helpreplicate thecelebrity Rocketman: Inside… 2019, 156). Costuming isusedinboth films Rocketman that thefilm’s fantasy Bohemian Rhapsody,Bohemian Day asserted 2019). This indicates that DOI: 10.31009/cc.2021.v9.i16.02

22 Vol. IX Article comparative cinema No. 16 HANNAH ANDREWS 2021 Reading the Biopic through Persona: A Comparison between Bohemian Rhapsody and Rocketman Singer, 2018). authenticity to theoriginalevent. Rhapsody(Bryan Bohemian performance reinforce thesequence’s claimsto mimesisand Fig. 5: Images of television sets playing Queen’s Live Aid the dialogue. (Bryan Rhapsody Bohemian Singer, 2018). the background of thisscene, reiterating thethemeof dentistry in Fig. 6: The logo for thebandSmile occupiesaprominent placein DOI: 10.31009/cc.2021.v9.i16.02 23 Vol. IX Article comparative cinema No. 16 HANNAH ANDREWS 2021 Reading the Biopic through Persona: A Comparison between Bohemian Rhapsody and Rocketman through his(disordered) memory. Asa the events inElton’s life are mediated the film’s flights ofmusical fantasy,as discourse. The conceitalsoexcuses popular understanding of therapeutic a search for self that mirrors the the film’s narrative structure as negative self-appraisal initiates drugs andanger management.” This has problems withweed, prescription a bulimic. I’m alsoashopaholic who a cocaineaddict. Andasex addict. And Hercules John and I’m analcoholic. And mode. Elton snarls: “My nameisElton of identitymadeinconfessional The filmbeginswithan expression dissection of theElton John persona. motif inRocketman, core to thefilm’s John’s life. figurative biographical commentaryon only areplication of thereal, butalsoa 2017, 259). Costume therefore isnot “sort out[his]personal persona” (Doyle the age of forty-three, that hestarted to that itwas not untilhebecamesober, at his “armor.” This reflects John’s claim Elton beginsto emerge from beneath of hiscelebrity persona, asthe “real” metaphor for thegradual breakdown a grey fleece bath robe. Thisisavisual costume, eventually stripped down to sequences heremoves of this parts therapy throughout flashforward persona. AsElton progresses through suffering of theperson beneath the reveals thefilm’s efforts to reveal the studded glasses. This image punctually tinted, heart-shaped, diamante- fighting back tears beneath orange- a close-up of hiseyes shows heis sits down at thecenter of thegroup, extravagance of Elton’s image. Ashe anonymity of thesurroundings andthe on theabsurd contrast between the sits. The sequencedraws comedically chairs onwhich therehabilitation group decorated only by thecircle of folding of thesetting, alarge, warmly-lit hall, outfit alsocontrasts withthemundanity demonic image. The extravagance of the Therapy thematic isanimportant by organizing alarge party, which seen. He responds to this rejection communication alone. Hewants to be Freddie isunsatisfied by a verbal signaling withtheirlight switches. remain visible to oneanother via orchestrate asituation where they She refuses, soheattempts to to askherto have adrinkwithhim. telephones Mary, now hisneighbor, scenes. Inthefirst, a lonely Freddie film inthejuxtaposition of two persona. This isdramatized inthe if aprivate one, to fully inhabithis Freddie requires anaudience, even with hisperformance of persona. aligning hisself-identity squarely person Iwas always meantto be,” Freddie responds “I’m exactly the is like to perform for large audiences, instance, whenMary asks himwhat it more authentic version of self. For that Freddie’s persona isthe does Elton’s. Instead, itsuggests interiority asclosely asRocketman declines to privilege Freddie’s Rhapsody.in Bohemian film The autobiography that isnot present the storytelling impliesalevel of through. purpose of psychological working told from hisperspective andfor the that this isElton’s personal story, to thetherapy setting reinforces Continually returning inflashback honest abouthisown identity. persona andbecomingincreasingly through therapy inbreaking down his mirroring theprogress of Elton decrease asthefilmprogresses, Instances of unreliability like this to hugme?” only to berebuffed. asks his father “when are you going scene inwhich afive-year old Elton child,” butthisisjuxtaposedwitha for example, that “I was avery happy an unreliable storyteller. Heclaims, his own story andisrevealed to be has agreat degree of control over homodiegetic, narrator, overt Elton This first-person approach to DOI: 10.31009/cc.2021.v9.i16.02 comparative cinema comparative

24 Fig. 7: Elton’s extravagant costume operates as a form of armor, and its gradual removal signifies a breaking down of persona. Rocketman (Dexter Fletcher, 2019). Article HANNAH ANDREWS A Comparison Persona: the Biopic through Reading Bohemianand Rocketman Rhapsody between 2021 Vol. IX IX Vol. No. 16 No.

DOI: 10.31009/cc.2021.v9.i16.02 25 Vol. IX Article comparative cinema No. 16 HANNAH ANDREWS 2021 Reading the Biopic through Persona: A Comparison between Bohemian Rhapsody and Rocketman that, people would yawning start ‘Oh to be gay, Mercury states: “If Itried point inhiscareer “good for business” suggests that itwould be, at that being homosexual. Whenthejournalist has misquoted himas “confessing” to in which hecomplainsthat TheSun Mercury gave to MelodyMaker in 1984 quote from afractious interview his life. Richards andLangthorne engaged inabouthissexuality during on thedeliberate obfuscation Mercury partially excused inthefilm by drawing his heterosexual bandmates. This is depicted through theperspective of Mercury; asMcKinnonnotes, heis approach that thefilmtakes to This exemplifies thethird-person heteronormative gaze” (2019, 557). and frames himthrough a “pitying portrays Freddie asa queen,”“tragic example, highlighted that thefilm nowhere explored. McKinnonfor iseverywherequeerness implied, in embraces Elton’s sexual identity, its most evident. Where Rocketman its reticence to explore hisidentity is represent Mercury’s that queerness exploration of personal identity. reconstruction of persona rather than exterior perspective onMercury, a the sensethat thefilmpresents an the meaningof hislife. This reinforces performance of acelebrity persona was interpretation of Mercury isthat his It isequally arguable that thefilm’s otherwise meaningless life” (2019, 577). extravagance maskingMercury’s that isframed party asahollow “the critiques thissequence, suggesting sense of self. Scott McKinnon centrality of performance to Freddie’s is obvious, italsodemonstrates the While the symbolism of thiscostume robe wornover tight leather trousers. large crown andscarlet fur-trimmed costumed asrockthe party royalty, a clearly desired from Mary. Heattends provides himtheaudience hehad Bohemian RhapsodyFreddie’sBohemian It isinthefilm’s reluctance to

claiming that Maryknows himina kiss Freddie. Freddie recoils defensively, responds “if you say so,” andleans into is areference to MaryAustin. Paul song “Love of myLife,” which heclaims recording studio, Freddie iswritingthe a sceneinwhich, duringabreak at a Queen. Paul isfirst introduced during comes between Freddie andtherest of in thefilm, aMachiavellian figure who who isconstructed astheantagonist (Allen Leech), hispersonal assistant in hisrelationship withPaul Prenter on hisperson. This ismost evident rejects theimpositionof queeridentity of excessive masculinityon-stage, he persona andthrough hismacho parody inhispublicperformancesqueerness of rather thanthepersona. life, withtheexploitation of theperson with thepublicization of hisprivate defensiveness shows hisdiscomfort that heisHIV positive. Freddie’s his queeridentityandthepossibility attacking himfor beingdishonest about questioning to Freddie’s personal life, press conference repeatedly their turn Freddie’s unease. The journalistsat the presenting avicariousexperience of lenses (Fig. 8). This isdisorientating, focus, from alow angle withfish-eye the journalists, filmedslightly out of swiftly together withcloseups of crowded, claustrophobic room edited medium-long shots that show the is presented inacombination of conference in1982. The sequence Queen engage inadisastrous press Rhapsody persona, isdramatized inBohemian and journalistsfor authorship of his the competition between Mercury ambivalent relationship withthepress, of itssupposed strategic benefit. This be perceived asinauthentic because between person andpersona would Mercury believed agreater integration gay’” (2016, 250). This impliesthat he’s gay because it’s trendy to be God, here’s Freddie Mercury saying While Freddie ishappy to signify in a short sceneinwhich in ashort DOI: 10.31009/cc.2021.v9.i16.02 26 Vol. IX Article comparative cinema No. 16 HANNAH ANDREWS 2021 Reading the Biopic through Persona: A Comparison between Bohemian Rhapsody and Rocketman his parents, grandmother, ex-partner, visions of thekey people inhis life— out inElton’s therapy group, inwhich of thefilm, a fantasy scenario plays of identity. Inthepenultimate scene is more confidentinitsdeclaration person. The conclusionof Rocketman the predominant reality claimof the existence of person andpersona, and biopics, which acknowledge theco- Mercury. This isincontrast withmost interpretation, the persona is the “real” declines to explore hisperson. Inthis Mercury. Itrecreates hispersona but the film’s approach to Freddie externality, neatly encapsulates expression of identitythat emphasizes the publicwhat they want.” This line, an was to born be: aperformer, whogives Instead, hesays, “I’m going to be what I poster boy, theircautionary tale.” them herefuses to becomean “AIDS rest of hisbandmates. Healsotells reveals hisHIV positive status to the Rhapsody’sthe filmBohemian Freddie threaten hiscontrol over hispersona. identity, andthat isto thisinturn understand hisdesires, hissexual It impliesthat to know Freddie isto representation of Mercury’s sexuality. much aboutthefilm’s ambivalent This rhyming useof dialogue reveals “I know you,” thistimeasathreat. vices to thepress. Herepeats theline information aboutFreddie’s private blackmail him, implying hewillreveal himself from hisinfluence, Paul tries to When Freddie attempts to extricate and plying himwithdrugs andalcohol. by encouraging hishedonistic impulses himself to becomeFreddie’s gatekeeper else. Later inthefilm, Paul hasinveigled to personal “knowledge” thananyone into Freddie’s identity, agreater claim givesqueerness himagreater insight advance. Paul suggests that hisown in thecontext of thesceneisasexual you, Freddie Mercury.” The expression him deeply intheeye andsays “I know way nooneelseever will. Paul looks In thefinaldialogue sequence of person of Elton John work together to to author both the persona and the and thelicenseitscreative team had of therapeutic “working through,” framing withinthenarrative conceit hands of theirfamous alter-ego. Its the suffering of theindividualat the well-worn trope inrock biography of to theextent that itindulges inthe Rocketman istypicalof thisapproach, the “real” person behindthestar image. “authentic” version of theindividual, individual, implying that thelatter isthe between publicpersona andprivate explore thedynamicrelationship questions of authenticity. Many biopics biographical storytelling that focuses on lens of persona enables ananalysis of of itssubject. has aclear perspective ontheidentity subject that, for allitsovert artifice, persona, producing aversion of the Rocketman’s replication of person and distance, rhetorically authorizes in thefilm, thoughapparently at a finally align. Elton John’s participation smiling faces, asperson andpersona circling themto show theirsatisfied, me?” and they embrace, thecamera dialogue “When are you going to hug Reggie thenrepeats theearlierlineof conflict between persona andperson. to themotif of Elton/Reggie asthe structure discussedabove, returning captured intheshot/reverse-shot Reggie Dwight.” This exchange is challenges him “I thought you were coherence andclosure. Reggie then structures andachieves asenseof that conforms to classicalnarrative beginning, anact of circular storytelling identity returns theviewer to thefilm’s John.” This simple re-statement of him: “Yes Ido. I’m Elton Hercules doesn’t know whoheis.” Elton corrects Reid (Richard Madden) sneers “He identity, inwhich hisex-partner John They engage inadialogue aboutElton’s help himto work through hispast. lyricist andfinally, his childhood self— Reading thebiopicthrough the DOI: 10.31009/cc.2021.v9.i16.02 comparative cinema comparative

27 Fig. 8: In a press conference, Freddie’s tussle with the press over exploitation of his persona is dramatized through fish-eye lens images of a phalanx of journalists. Bohemian Rhapsody (Bryan Singer, 2018). Article HANNAH ANDREWS A Comparison Persona: the Biopic through Reading Bohemianand Rocketman Rhapsody between 2021 Vol. IX IX Vol. No. 16 No.

DOI: 10.31009/cc.2021.v9.i16.02 28 Vol. IX Article comparative cinema No. 16 HANNAH ANDREWS 2021 Reading the Biopic through Persona: A Comparison between Bohemian Rhapsody and Rocketman through close approximation, afaithful musical legacy. Itachieves authenticity their publicpersonas andforged a Queen andFreddie Mercury constructed adopting instead adramatization of how eschews deepexploration of theperson, his innerself. Rhapsody Bohemian story of thetruest of Elton part John, however playfully, that thisisthe “true” through authorization, through implying, It achieves asenseof authenticity create a “first person” style biography. Martel, whodelivers aclose approximation of Mercury’s vocal style. recordings of Queen’s songs, supplemented by recordings of Canadianrock singer Marc Freddie2/ Mercury’s singingvoice was produced by usingvocal stems from the his early mentor. 1/ Inreality, the “John” inElton John was borrowed from bluessinger , persona, afictionalization of a fiction. The result isafilmthat reproduces the to “protect hislegacy” asMay putsit. this was indeedthebest way for thefilm his personal life and identity, perhaps Mercury’s known protectiveness about perpetual performance of self. Given presents asanaudience for Freddie’s who knew him, people whothefilm is mediated through theeyes of those to Mercury’s authorization, theaccount replica of itssubject. Unable to appeal DOI: 10.31009/cc.2021.v9.i16.02 29 Vol. IX Article comparative cinema No. 16 HANNAH ANDREWS 2021 Reading the Biopic through Persona: A Comparison between Bohemian Rhapsody and Rocketman Proliferation of thePublic Self.” Journalism 15(2):153–70. https://doi. https://doi.org/10.1080/19392397.2012.679455 Stardom onScreen: The Popular MusicBiopic.” CelebrityStudies3(3): 346–61. https://doi.org/10.1002/9781119554783.ch22 andAshleyCartmell D. Polasek, 395–414. Hoboken, NJ: John Wiley &Sons. or Stardom andStatuettes.”, InACompaniontotheBiopic edited by Deborah and C.F Baynes. London: Balliere, Tindall andCox. making-rocketman [accessedMarch 22, 2021] com/global/2019/may/26/elton-john-in-my-own-words-exclusive-my-life-and- Haven’t Led aPG-13 Life.”Observer, The 26May 2019. https://www.theguardian. Celebrity Culture. London andNew York: Routledge. org/10.3138/9781442697584 Law and Culture. Toronto: University of Toronto Press. https://doi. University of Edinburgh SocialSciencesResearch Centre. and Burlington: Ashgate. https://doi.org/10.4324/9781315089980-13 Popular Music: History, Placeand Time , edited by IanInglis, 138–54. Aldershot Queen: Live Aid, Wembley Stadium, London, July 13, 1985.” InPerformance and .‘70s Edinburgh: Polygon. https://doi.org/10.4324/9780203384572-14 Film Culture, edited by Tom Brown andBelén Vidal, 103–17. London: Routledge. Intertextuality intheContemporary Biopic.” inContemporary InTheBiopic 19(2): 41–53. https://doi.org/10.1093/screen/19.2.41 https://doi.org/10.7312/ches17205 Real People. Basingstoke: Palgrave Macmillan. Frisvold Hanssen, 223–44. London: Bloomsbury. Challenges, New Directions, edited by Jørgen Bruhn, AnneGjelsvik andEirik the ‘Based-on-a-True-Story’ FilmasAdaptation.” InAdaptation Studies: New CenturyFox/Regency20th Pictures. References Marshall, P. David. 2014. “Persona Studies: Mapping the Marshall, Lee, andIsabelKongsgaard. 2012. “Representing Popular Music Kennedy-Karpat, Colleen. 2020. “Performance andPrestige intheBiopic Jung, Carl. 1928. Two Essays onAnalyticalPsychology. Translated by H.G. John, Elton. 2019. “They Wanted to Tone Down theSex andDrugs. ButI Holmes, Su, andSeanRedmond. 2006. Framing Celebrity: New Directionsin Hamilton, Sheryl. 2009.Impersonations: Troubling thePerson in Goffman, Erving. 1956. ThePresentation of SelfinEveryday Life. Edinburgh: Fast, Susan. 2006. “Popular MusicPerformance andCultural Memory. Doyle, Tom.2017. 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Persona v9.i16.02 Comparative Cinema Comparative Persona: AComparisonbetween How to reference Andrews, Hannah. 2021. “Reading theBiopicthrough Elton John by Terry O’Neill: The Definitive Portrait. Acting intheCinema. Berkeley: University of , Vol. IX, No. 16, pp. 10-30. DOI: 10.31009/cc.2021. Bohemian Rhapsody Bohemian and Rocketman . ”