STARDUST

How do you make a biopic about one of the most iconic artists of all time? Add into the mix that his entire estate have disowned the project, and the filmmakers haven’t got the licence to a single one of his songs?

Well, you don’t. Or, at least, on the basis of Stardust, you shouldn’t

And none of this is to say that you need the estates approval to make a good film. The Damned United is a prime example of a film that his hated by the subjects family, yet is a really compelling drama, but when the things that that approval will give you are so integral to the plot being without them is only going to be a burden

The key example of this is the music. Johnny Flynn - who plays Bowie - has, quite naturally, defended Stardust, saying that nobody wants to hear him singing Bowies songs, but narratively this doesn’t make sense. Bowie is supposed to be on the road, promoting his new album to an American audience, but all he does is play other peoples songs

The tour itself is a work of fiction, which is fine, most biopics use conceits such as this which are works of fiction, but when everyone around him is talking about “The New Album”, about what the lyrics mean, and where his inspiration came from, and why the American audience aren’t connecting with it… and then we don’t hear any of it, it’s a huge flaw in the storytelling. And unfortunately one that proved insurmountable for me.

And the thing is, if this film hadn’t been about Bowie, if it had been about a fictional singer trying to make in America, then it would have been fine. Stardust was never going to be a worldwide smash hit, but Johnny Flynn has a great singing voice and is a very watchable screen presence, and Mark Maron is excellent as the world weary label rep. The lead characters struggles with his own mental health, and his relationship with his Brother - himself receiving treatment - were really moving, and arguably should have been the focus of the film.

Flynn and Maron make for fun leads and both give really strong performances. Flynn especially gives a particularly nuanced performance, as his version of Bowie tries to hide his growing worries and insecurities behind his chosen persona.

But by putting the film in shadow the size of Bowies hampers it at every turn.

There is no denying that the film has been made out of a love for Bowie and his music, this shines through, and knowing that Stardust came from a place of love made me really wish I could love it back. Unfortunately, every time it threatened to pull me in, I remembered that the character on screen was supposed to be David Bowie and that thought would pull me right back out again.

Ultimately Stardust is something of a paradox. The filmmakers love of Bowie, the very thing that got the film made, is the thing that stops it from working. It is hamstrung by its own central conceit.

Stardust has some excellent performances, and some really moving moments, and it is disappointing that I couldn’t like it more than I did. I really did try.