Classic Review: Almost Famous (2000)

Okay, just to get this out of the way: Almost Famous is one of my favorite films of all time. It’s hard to exactly put into words my love for this film but I wish I had written this script (I’m also a screenwriter, BTW!). This film is perfect, and it has one very special quality that is so very hard to accomplish: besides all its qualities, we, as the audience, can also sense all the love that was put into making it. Few films have this feeling that transcends the screen; it’s engraved in the picture, it is felt in every frame, in every cut, in every choice the filmmaker did. It’s something so particular it’s even hard to explain. You just sense the joy of filmmaking, and you cannot help yourself to a smile of satisfaction.

Almost Famous has one of those stories that are so dreamy you immediately wish it happened to you: In 1973, 15-year-old William Miller (Fugit) is assigned to write an article for Rolling Stone Magazine about Stillwater, a band that’s about to burst into superstardom. He is hired on the phone because of the quality of his writing while the folks at the magazine have no idea William is still a kid. It’s a fantastic starting point to his adventures, made even more compelling because if was actually inspired in the life of writer/director Cameron Crowe. On the road, Miller has a private look into 70’s rock and roll, when band members were larger than life, drugs and sex was running free, groupies were also famous and legends started, some of them lasting until now. In this magical period of his life, he’ll mature and understand who he wants to be when he grows up. And his innocence, so far apart from the craziness of that decade also manages to change everyone around him.

Almost Famous has so many qualities that it’s hard to list them all. But the script is the greatest achievement here (I know, I’m a suspect in that department). The structure is perfect, especially considering the extended cut of the film. That cut took the time to set up Miller’s dull-not-so-dull life before entering the tour, and we totally understand who he is and where he came from. We see his values inherited by his overprotective mother Elaine (Frances McDormand) and the little fire of rebellion instilled by his sister Anita (Zooey Deschanel). These two women, who constantly clashed with each other, are ever present in his life in every single moment of the film. They formed him, and the values he learned from his mother and the love and wonder for music inspired by his sister are always with him.

With Anita, you see how delicate is the act of casting the right actor for a role; Deschanel’s wide eyes are perfect to represent Anita’s longing to know the world, and Crowe explores them as much as he can, and he also parallels hers with William’s eyes in several sequences (the most famous one being the one he loses his virginity). Both of them look at the world with wonder, with a desire to know and see more, like there was too much information going on and they were trying to grasp everything at once. The standout of the first sequences, though, is McDormand. She creates such a vivid, real person on the screen, her presence is felt through the entire picture, and again, the script brings her back in hilarious moments through the reactions of the people she speaks to while trying to connect with her son. McDormand is absolutely perfect here.

The first part of the story also introduces us to another great character that crosses paths with Miller: legendary rock critic Lester Bangs (Phillip Seymour Hoffman), who takes William under his wings and has fantastic conversations with the boy. His lines are so great, and Hoffman gives him so much personality, we end up wanting a spin off with his character. Once William goes on his assignment and he starts touring with Stillwater, he especially bonds with Russell Hammond (Crudup) the guitar player. It’s beautiful to see Russell warming up to the kid, and how William actually grounds him, to the point where Russell starts feeling embarrassed of his tactics when he’s around him. While everyone around them is throwing themselves into inconsequential choices, William sees Russell for who he truly is, and most importantly, for who he can become, and Russell wants to rise up to those expectations.

The tour is the most magical part of the ride that is Almost Famous. We get to see William realize a dream most of us dreamed of at least once in our lives: to tour around the country with our idols and it doesn’t disappoint. It’s so much fun, it’s a compelling ride into 1970’s pop culture. Again, the script is the standout here. It’s fascinating to notice how sharp it really is; there’s a lot going on here, especially it being an ensemble picture with so many characters. All of them have great moments, grow, show different sides, and have a chance to enchant us, even the minor ones. It’s actually quite fascinating to see how Crowe truly understand his characters and manages to create such a perfect quilt of the era. Every person that crosses paths with William are more than they appear at first glance. It is also great to see that even with so many things happening at once, Crowe doesn’t lose sight of his protagonist: we see William learning, growing and become more and more frustrated and anxious when things start to overwhelm him.

Just as every party has to come to an end, William’s dream tour cannot go on forever. After being on the road with the band for so long, he finally sees the cracks and the imperfections in his idols, and that is one of the most fascinating themes of Almost Famous: an idol is also a human being, and they are usually just as flawed as we are. The film has such a tender heart for the era, but it doesn’t shy away from the sexism and other awful behavior, as such life of indulgence provided a perfect escape route for its characters to avoid reality. By the end, William knows exactly who he is, and knows he will never be “cool” and most importantly, he doesn’t want to be, not if being cool means closing his eyes to all the pain that is happening around him.

Almost Famous is a true ensemble piece, and as I said before, every character, even the minor ones, have a chance to shine. It’s incredible to see that even minor characters like Polexia (Anna Paquin) and Sapphire (Fairuza Balk) have opportunities to show us that they are way more than just regular groupies. Fugit leads the film amazingly, creating a perfectly charming William Miller, managing all emotions with ease; it’s impossible not cheering for his success on the tour, and not wanting to become friends with him when the film is over. His chemistry with Crudup is amazing to watch. Jason Lee, as the band leader Jeff is hilarious as expected, Jimmy Fallon and Noah Taylor are great as the managers Dennis Hope and Dick Roswell, and Rainn Wilson, Eric Stonestreet and Jay Baruchel all make an impression in small roles as David Felton, Sheldon the Desk Clerk, and Vic Munoz respectively.

It’s impossible, however, to talk about Almost Famous without praising Hudson as Penny Lane. In a way, she has never managed to deliver such a complex and magnetic performance again. From the moment she shows up on screen, it’s impossible to take our eyes off of her. Her characterization works in her favor but a lot of the character’s power came from the key choices Hudson made. There is a certain amount of manic pixie dream girl to her, yes, but she never totally fit in that description. First, because she unfolds so completely in front of our eyes, it’s impossible to give her that full stamp; but also, because a lot of the characteristics of the manic pixie dream girl are not just seen in her, but also with all the characters in the band and in the tour. They are all, through William’s POV, unattainable, mysterious and tools for his personal growth. In time, he manages to see beyond the aura and figure out who they all truly are. All of them, including her. When the walls are shattered, he sees her, who she truly is. And even if that is not expressed in words, Hudson delivers it perfectly.

With so much going on, it’s quite magical that the film is so well balanced, so well rounded. The humor is compelling, there are a lot of iconic moments (Tiny Dancer, anyone?) and many scenes that are totally unforgettable. The farewell scene at the airport, the telephone talk between Russell and William’s mother, and the final conversation between the two are a few that come to mind. But there are so many other moments to praise that it’s just easier to re-watch the film all over again.

Almost Famous is a perfect film. The crowning achievement in Cameron Crowe’s career.

still courtesy of Dreamworks

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