
It showcases the never-experienced footage of his concerts in the last 50 years as well as his handwritten diaries and his videos of family through all these years. Elton John is no ordinary artist. He is perhaps the best performer to have ever existed in the history of music. His professional persona is something that he showcased to the world and that will never be seen again. I have a strong feeling that there is not going to be another person like him for years to come. He is a blend of rock, blues, funk, and pop that is spiced up with tracks like ‘Bennie and the Jets’, I’m Still Standing’ and (one of my personal favorites) ‘The Ballad of Danny Bailey’. “Elton John: Never Too Late” is quite untouched as a singer who has teamed for a long time with spectacular singers like The Beatles, Jerry Lee Lewis, Ray Charles, Fats Domino, and the like. He is a magnificent child wonder on piano who gradually transformed into one of the most breathtaking musicians to ever set foot on earth.
It doesn’t require a genius to envisage that in our home, the majority of playlists consist of Elton John’s songs, I mean all of us have playlists including his songs and I am pretty certain we also have some records lying around.
Honestly, I was shocked to see a documentary of him scheduled in the New York Film Festival spotlight having to step out of the gorgeous world of international arthouse cinema quite literally cut off my breath but that was needed to sit through R. J. Cutler and David Furnish’s. In contrast, however, I was left somewhat disappointed since this movie does absolutely nothing to expand on the mythical tale of the global music icon or how exactly he became the Rocketman the world has adored so much. The project resembles quite a few biographical flicks churned out by the ‘bigger’ production houses. Though most would find it quite charming the reason for introducing Elton’s character as they did already fails to achieve the desire of the audiences for this particular project.
This biopic is the inside story of Elton John, complemented with insightful interviews Cutler and Furnish have everything any biographer would dream of over 50 years worth of Elton John’s business of show, show, and more show, recordings and countless other behind-the-scenes material. Yet since the project did not give any comprehensive definition, they made a great number of different stuff but for no reason because there was no context.
In the film Never Too Late, there are two episodes in which Elton performs in Dodger’s Stadium, the first being in the mid-1970s and the second likely marking his retirement from performing in 2022. Only a few people managed to witness this Elton John fans who love his music or watched the film Rocketman. He performed wearing underwear only, along with a lot of shine embellishments at the Dodger Stadium over the span of two days for 110,000 fans. And that was in the course of the Farewell Yellow Brick Road tour. This was the last concert of the life of one of the Greatest Showmen Alive.
From the very start, one is quite conveniently transported to the moment of gross dread in the life of the artist. It is the peak of his life, professionally and even creatively, and he is afraid of the moment he retires. But the film describes two new angles that illustrate his transformation from a string violinist in the UK to saying bye to the people across the globe in these two brackets In a sense, it is the beginning of the end of Rocketman. Other places such as Elton John, have been places time and again. Even this. It was scripted by Dexter Fletcher in his 2019 biopic with Taron Edgerton.
Through Elton’s music, one could easily picture him in his childhood more as a stuffy kid rather than the artistic persona that he gave off much later on. Incidentally, Elton had a role in arranging songs for The Drifters back. Yet, it is hard to reconcile, in Never Too Late, that an artist’s images or optimism is present even in those conversations.
Although Elton faced enormous hurdles and was compelled to relinquish a lot, he indeed was able to change the music scene, and it remains worth it for any artist to check out and learn how this behemoth transformed from ‘rocking’ with Woman to producing the Very Best of Elton John. With respect to that, he certainly did not lose a great deal of that pomp and grandeur. If anything, such an impetuous soul is conveyed through the shows that we are the audience of old or new, they are ALL breathtaking.
A majority of Elton watchers would use the classic tag of Lovely’s comical moments these are nice memories, while the doc-drama featured Elton in a different light, telecasting him alongside The Who during a concert the flamboyant singer with the band during his additional act, which has gone down in history as a great performance. For example, the ‘Concert for the People of Kampuchea, which was aimed at collecting funds for the Cambodia Red Cross was Elton a considerable success, as he performed for an enthusiastic audience.
In his lethal substance relations, however, he’s honest, and that is, among other things, about his severe childhood and depressive and drug use years. Arnetta is crucial to the case. He was oblivious to the catastrophic cyclone that would eventually engulf not only him but numerous others. His life had begun to revolve around Winifred Atwell, Roy Williams, Bernie Taupin, and John Reid, no matter how central Agnate was to the situation.
The audience between the two moments, therefore, comprehends the content of the film and how agog Cutler and Furnish were to make it in the case of a copious burst of cloth. The alteration for one thing relates to the song from the live-action Lion King of the Stallion which sought to be summed up by a “Never Too Late” tagline.
As Elton mentioned in the documentary, he had the chance to reflect on his life and help those who mattered most to him his wife and children avoid going through the agonizing times that he did. That’s one of the reasons why he chose to retire. He wants to inspire and support his loved ones, the guidance he lacked from his own grandparents. Elton views the past through the lens without ever being bitter, he looks upon it with gratitude, but that’s only due to how he is able to look back at specific events. Although the majority of the movie does not contain these kinds of personal feelings from the props figurative of it, there do exist such moments with Elton in which he shares his sentiments that he integrates into his most noticeable songs. In part three of the documentary, which is set in the postmodern period, not many feelings are shown, and those that are, are restricted. The notion of flying back in time so as to progress optimally is completely drowned by meaningless babble.
To be more specific, it doesn’t feel quite as sensitive and exposing as it does clinical and held back. One expects behind the camera more childishness and some sort of spontaneity for a man having an album full of glitz and cover page visual treats. Brett Morgen’s depiction of Moonage Daydream A hodgepodge mute for several decades spinning around a caustic musical connoisseur, I mean one can imagine what Morgen can do with so many archival videos mounted in his arsenal. And after that Never Too Late on the contrary is all that is monotony and uninteresting. It is absolutely ridiculous that there can be such a rather large quantity of documents concerning famous personalities and most if not all because the filmmakers are not able to translate the sound they hear into any style, that is any style. They are much too rational about it and with insufficient commitment.
When Alex Ross Perry shot the Pavements (pavements which are someday going to be shown at the festival in the same section), he said I would like to spearhead a group of directors whom I think have the right intentions towards music figures rather than just fleetingly addressing them but giving them in-depth and context that would complement the musically focused lens which made them artists in the first place.
The question that stands out is the following: why is a movie such as Never Too Late being showcased together with the payments, which features a number of segments that creatively pay tribute to the band’s legacy through various cinematic techniques and projects? They appear to be at two extremes of what a director or a producer has at their disposal. Cutler and Furnish have portals to the dazzling universe of the Rocketman but wish to venture into the overused stereotypes of contemporary working about dull life stories and images.
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