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But when it goes badly, a biopic can be terrible in its own special, excruciating way.Īctors clearly believe that it's worth the gamble – and understandably so. When it goes well, it fills cinemas and wins awards, especially in the 21st Century. The lesson is that the celebrity biopic is the most high-risk of genres. That was one of the more enthusiastic reviews. Unsurprisingly, the trailer was mocked on social media when it was unveiled in October, and, when the film came out in the US in November, the AV Club's critic dismissed it as ''a junky biographical drama that doesn't feature any music by Bowie or his contemporaries and stars a guy who doesn't look or sound anything like the man''. And because Stardust wasn't approved by the late singer's estate, it has to do without any of his songs. The director made the curious decision to cast actors in their thirties, forties and even fifties as people who were in their twenties at the time.
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There is no doubting the sincerity of its Bowie-phile cast and crew, but unlike Bohemian Rhapsody and Rocketman, Stardust is a low-budget indie movie with some unavoidable flaws. The film is released in the UK today, so presumably its producers are just waiting for the trophies and the profits to roll in.
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And now Stardust, featuring Johnny Flynn as a young David Bowie, thus completing a trilogy of dramas about exotically stage-named, sexually adventurous British glam-rock legends.
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The following year, Rocketman, a musical based on the life of Elton John, did well, too, making enough money to keep Sir Elton in designer specs for decades, and nabbing two Oscars of its own. Released in 2018, the hit Freddie Mercury biopic Bohemian Rhapsody had its producers singing We Are the Champions: it won four Oscars and took close to $1bn at the box office.