Love Your Idols

“Almost Famous” (Directed by Cameron Crowe, 2000)

 

             Cameron Crowe shows us his young rock critic side in the semi-autobiographical film “Almost Famous,” but obscures the rest of himself. This isn’t a biopic, and doesn’t have any inherent responsibility to cover him in totality. The narrative is centered in a specific time, a few locations and a group of people—none of which have to do with the Hollywood side of his life. However, because this story is itself a film, one of many that Crowe has written, produced and directed, and because there is a Hollywood movie scene just as there is a rock music scene, it seems a blatant, almost ironic omission to ignore it entirely.

Biographically, he performs different functions while creating movies or critiquing music. In performing the latter, Crowe establishes a handful of direct messages about art and appreciation that can’t seem to hold up with respect to his own work—this film. Without changing the content of the narrative, Crowe could have used different filmmaking techniques to incorporate a self-conscious look at Hollywood and thus paint a more complete and nuanced portrait of art and celebrity.

When Kate Hudson plays famous groupie or “Band-Aid” Penny Lane, her character is critiquing the lifestyle, but in performing that role Hudson offers no critique of being an actress. Her first appearance recalls the glamorous introduction of Grace Kelly as Lisa Carol Freemont in “Rear Window” (Directed by Alfred Hitchcock, 1954). Whether or not this is an intentional allusion or questionable borrowing, it certainly isn’t a critique of idolizing stars. We do come to see Penny Lane as more tragic and human later on, but those scenes are so far removed that this moment of rapture in the alley comes off and completely sincere. And Hollywood starlets weren’t without their troubles either; eating disorders, drugs and male chauvinism among them. How is Crowe being “honest and unmerciful,” Lester Bangs’ catchphrase from the film? He isn’t.

The first 15 minutes establish a lot and revel in very little. The film is rushing, frenetically marching forward and leaving the audience to try and catch-up. While not logically confusing, the plot remains unintuitive. Just like William’s (Patrick Fugit) and Crowe’s childhood, everything is condensed. Time is ellipsed after virtually every scene, making for some kind of quasi-montage preamble with no clear parameters. The composition, art direction style and acting are operating with a glossy finish that must be nice to enjoy, someone would ever get the chance. Other times, a scene has a clear purpose for shaping the meaning of the film, such as the early scene where the radio plays “The Christmas Song” by Alvin and the Chipmunks over a montage of palm trees, surfboards and Santa wearing shorts. Christmas in California scene is maybe the most straight-forward scene (and the most cliched), but many others are certainly obvious enough to the point where Crowe’s intention becomes like a watermark on the frame. Clarity is often a virtue, but when scenes extend beyond the time it takes to make their point, they can become annoying—like “The Christmas Song.”

Things gel more when William joins fictional band Stillwater on tour for an article in Rolling Stone. William is exploring these amazing opportunities, and letting the audience come along for the ride. Frances McDormand plays William’s mom and has a humorous heart-to-heart with Stillwater star guitarist Russel (Jason Lee). A series of attempts for William to get an interview with Russel have him waiting by a closed door while being yelled at to leave. Crowe’s subconscious absent father issues seem to have broken through here in some of the most engrossing scenes of the film. But then, each viewer is going to identify with something more than the rest. The film is like a collage in some ways and the basically ineffectual protagonist character allows the audience to choose their own path.

There are definite highs and calculated lows, but everything shines equally with a high-gloss, Hollywood finish undermining the impact of the drama. While most of the film may be true, it doesn’t feel very real.