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By Kareem Abdul-Jabbar. Contributing Editor. The good news is that there is no end to worthy subjects David Bowie, Aretha Franklin and Dusty Springfield movies are on the way. Why not do both? Sadly, they rarely live up to that promise. Instead, we get a greatest hits album loosely structured around the most melodramatic Wikipedia-mined moments in their lives, which delivers nothing more than a discount Groupon version of attending a live concert of rock legends.
Not true. They satisfy a craving for the uncomplicated guilty pleasures. The difference is that my expectations are adjusted in that list to not hope for more. But music biopics are full of potential, and proper respect for the artists demands these films show more than how the musicians are perceived by the public through the fractured kaleidoscope of Extra interviews, BuzzFeed articles and TMZ gossip.
We are curious about their sex-and-drug lifestyles, but we love them because of the art they create that gives voice to our own emotions and struggles. With most contemporary music biopics, all we get are the same old melodramas with sensationalist scenes that exist only to distract us until the next popular song.
You know the formula: the epiphany of artistic awakening, the rise to superstar status, the struggle to hide their true sexual identity from a judgmental world, the fall from grace into alcohol and drugs, and the inevitable redemption as they gloriously accept who they really are Elton literally hugs his inner child. They come off as shallow vessels and their art as a means to a shoddy end: fame. What we should see is the relentless struggle toward perfecting that work as well as the insights into the world and our place in it.