![]() ![]() ![]() Demystified Videos In Demystified, Britannica has all the answers to your burning questions.This Time in History In these videos, find out what happened this month (or any month!) in history.#WTFact Videos In #WTFact Britannica shares some of the most bizarre facts we can find.Britannica Classics Check out these retro videos from Encyclopedia Britannica’s archives.Britannica Explains In these videos, Britannica explains a variety of topics and answers frequently asked questions.Nancy Reagan would give this film the D.A.R.E. In other words, the film seems to suggest that gay clubs can lead to drugs which can lead to increasingly poor choices and, eventually, AIDS. High and in the thrall of manager Paul Prenter (Allen Leech, playing very against his best known “Downton Abbey” role), Mercury makes a series of bad decisions culminating in Queen nearly missing out on the opportunity to perform at Live Aid. But once Mercury starts exploring his sexuality, he starts to slip. She is portrayed as a stabilizing influence, and during their relationship Mercury's music is great. Early on, Mercury is shown to be madly in love with a woman, Mary Austin (Lucy Boynton). Speaking of which, the film’s issues with Mercury's sexuality are glaring. They are heterosexual foils to his free-loving free spirit. As Mercury descends into drugs and debauchery, the other band members are shown looking uncomfortable and confused. And then of course, there’s the genius stunt casting of Mike Myers as the EMI record exec who insists long-haired hooligan teens won’t rock out to the song “Bohemian Rhapsody” in their cars, a perfect homage to 1992’s “Wayne’s World” use of the song.īut the acting can’t hide the film’s substantial plot flaws. Only Joseph Mazzello as Deacon doesn’t always come off as believable once he loses the early 1970s wig, though, he improves enormously. You will believe Gwilym Lee is Brian May’s younger self and Ben Hardy does a great job as Taylor’s egotistic counterpart to Mercury. ![]() Moreover, the rest of the cast does a great job in support of Malek. This is tragic, because Malek is so good as Mercury. Queen onstage during a live concert performance at Ahoy Hall in Rotterdam, Netherlands in April 1978. (So did bassist John Deacon, who, unlike May and Taylor, is not listed as an executive producer of the film, perhaps explaining why he winds up as an afterthought in many scenes.) The result is a movie that feels desperate to portray Taylor and May as the steady, responsible musicians who tried (and failed) to save their friend from himself. Not that May and Taylor disagreed with Mercury's music - they knew enough to go along with his genius. In subsequent scene after scene, with managers, lawyers and record executives, Taylor and May are seen politely sitting on the couch, sipping tea, while Mercury is portrayed as a difficult diva. Take for instance the opening vignette, where Brian May and Roger Taylor are portrayed as two dudes in a perfectly good band who take on Mercury on of necessity. But Malek clashed with the director Bryan Singer one day Singer too walked off the set and never came back. The film then languished until Rami Malek was hired to take on the part of Mercury. May and Taylor - Queen's guitarist and drummer, respectively - had a very different movie in mind, one where they were the main stars and Freddie’s ordeal was something they’d overcome on the way to even more greatness. The problem, as he explained it, stemmed from the keepers of Queen’s musical rights, Brian May and Roger Taylor. But after three years and little progress, Cohen walked away from the part. Already recognized for his singing talent in “Sweeney Todd” and at the time getting ready to co-star in the film adaptation of “Les Misérables,” he seemed a perfect fit. The project spent nearly a decade kicking around Hollywood, with Sacha Baron Cohen attached to play the singer back in 2010. The answer has a lot to do with the film’s origins. So what went wrong? How could the story of one of the most fascinating figures in rock music descend into a color-by-numbers tale more suitable for VH1 than the Academy Awards?
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