Having written one , two , three , four ALMOST FAMOUS-driven posts and now this one, I obviously do think it is an excellent film. Its one weakness is a certain complacency, underlined by its ending. I don’t have a problem with happy endings per se, but the one it provides really is too easy. . . . . Continue Reading »
Where we left ALMOST FAMOUS was with a question I say the film deliberately raises: How is a rock-writer like a groupie? 1)In the film, the rock-writer character is made very similar to them: William is “on the bus” and is underage. Yes, the latter fact is from Cameron Crowe’s life, . . . . Continue Reading »
The last Songbook post considered rock Fame and its relations to Celebrity and Honorable Ambition with plenty of help from political philosophy, and a little from ALMOST FAMOUS, too; moving back to the film (which is proving rich enough for, look out, two more parts after this!), this part will be . . . . Continue Reading »
We left off the analysis of ALMOST FAMOUS at the key point, where we were about to get into what it says about Rock and Fame. That is a complicated subject, because you need to consider the phenomenon of Fame itself, before you get into what Rock does with it. Bowie’s deliberately sour song is . . . . Continue Reading »
They’re vital, at least, for those not wanting to apply the brain to Mr. Cain. 1.) It sounds like John Presnall is right about that documentary by Crowe on Pearl Jam, but I now have a slight interest in it, because the apparently poor choice of rockumentary material might indicate . . . . Continue Reading »
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