Velvet Goldmine

Velvet Goldmine (1998)

Leave your expectations at the door

Todd Haynes · 123 min · Drama, Music

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About the film

Released
August 28, 1998
US theatrical
November 6, 1998
Certification
R
Country
United Kingdom, United States of America
Starring
Ewan McGregor, Jonathan Rhys Meyers, Toni Collette, Christian Bale, Suzy Eddie Izzard
More credits
Language
English
Origin
US, GB
Studios
Zenith Entertainment, Killer Films, Single Cell Pictures, Newmarket Capital Group, Goldwyn Films, Film4 Productions
Written by
James Lyons, Todd Haynes
Produced by
Christine Vachon, Michael Stipe, Harvey Weinstein, Scott Meek, Sandy Stern, Bob Weinstein
Cinematography
Maryse Alberti
Music
Carter Burwell, Craig Wedren
Also starring
Emily Woof, Michael Feast, Janet McTeer, Mairead McKinley, Luke Morgan Oliver
Budget
$9,000,000
Box office
$4,300,000

David Bowie refused to let his song catalogue anywhere near the production, so the film invents its own glam star and borrows the outline of Bowie's career without the rights to sing a note of it.

VELVET GOLDMINE (1998), directed by Todd Haynes, follows journalist Arthur Stuart, played by Christian Bale, assigned a decade later to find out what happened to Brian Slade, played by Jonathan Rhys Meyers, a bisexual rock star who staged his own assassination onstage and then disappeared. Arthur, who worshipped Slade as a teenager, interviews the people left behind, including Slade's ex-wife Mandy, played by Toni Collette, and Curt Wild, played by Ewan McGregor, a feral American rocker modeled partly on Iggy Pop and Lou Reed.

Haynes structures the film like Citizen Kane turned glitter and amphetamine, chasing a vanished icon through fragments of testimony that never quite agree. Maryse Alberti's cinematography moves between the British glam excess of the early seventies and the world Arthur inhabits a decade later.

Produced by Christine Vachon with Michael Stipe among the backers, the film lost the audience Haynes expected on release but found one later, among viewers who recognized glam rock as a costume for identities that had nowhere else to go.

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Comments

  1. love & totally agree with the Citizen Kane analogy… loved this movie, took me by surprise when i saw it eons ago – was aware of the glam rock scene but didn’t fully understand it as it was happening, although we ended up with our own watered-down version over here in the USA… thank you for this retrospective reminder – great cast, costumes and music!

  2. Jonathan Rhys Meyers at the point in his career when everybody thought he was going to be a top star…

    Other memories, an ex and their flatmate were extras in the club/concert scene. I still haven’t spotted them, and I’ve seen the film several times.

      1. Carolyn Kotlarski the movie calls out the 80s as a “bad” Bowie era, but also has Slade be “dead” and in hiding for the latter 70s…. essentially saying that Young Americans, Station to Station, and Berlin trilogy were not even worth noticing.

  3. Not having the rights to Bowie songs was the best thing that could have happen to this production! Thanks to it I discovered Roxy Music, Eno, T-Rex and also that Thom York could actually sing! 😉

  4. Sandy Powell the costume designer, came to our tiny factory on the Mile End Road in East London and commissioned my late husband Real Terry De Havilland to make a whole bunch of footwear for this. She gave us full rein. Possibly one of the best projects we ever worked on. Love this movie!

    1. Liz de Havilland loved your shop kings road – I bought a bought a pair of thigh length stiletto boots in the sale £15 I was @17 – very siouxsie sioux! unfortunately they were brown that’s why they were £15 lolz so I tried to turn the black using black boot polish… needless to say wherever I went I left a trail of black polish in my wake!

      1. Michelle Brigandage Same here! It was such a magical shop. I didn’t meet Terry until 1990. It was love at first sight for us both. I had close on 30 happy years with him, living and working together 24/7. Miss him hugely. Oh and btw, don’t believe the BS that surrounds the current TdH brand. Thereby hangs a tale…

  5. I loved it in the cinema and it was the first DVD I ever bought. I enjoyed the Citizen Kane framework and it was so obviously about Bowie, but the movie also introduced me to some amazing music from the era that I had missed and the unfamiliarity of which conveyed the shock and wonder of encountering genius for the first time. Sometimes the constraints that threaten to ruin a project end up steering it into a greatness it might never have otherwise reached.

    I might have another look at it this week.

  6. I’m confused about why an AI commercial on tv has been able to license and play his version of “Five Years”, since he refused to release any of his music for at least two biopics about him.

  7. Love it 🙏❤️🥊 and it did find it’s TRUE audience – there’s a book of diaries on the making – that I so wish I now owned – it’s a MIRACLE it was ever finished & came out at all !

  8. Do NOT short change the musical driving force that made it possible:

    SHUDDER TO THINK is the only act that was going to be able to LAND a very believable musical “voice” that matches the era seamlessly

  9. This movie could have been great, and there are certainly good things about it, but a lot of what’s wrong with it makes sense once you learn that they lost a third or more of the budget RIGHT before filming was to begin. (That’s detailed in a book the producer Christine Vachon wrote.) As a result they had to drastically trim back the scale and alter the structure of the film at the last minute, the only other option being to cancel the entire production. So it was a movie made with a lot of forced compromises, under a lot of unanticipated stress.

  10. crap movie imo, heard it was supposed to be loosely based on the bowie/iggy partnership from the berlin era but I couldn’t glean any of that from it. someone ought to do a proper film dramatizing their LA to europe adventures- oh and then do a proper 60s-period version of basketball diaries because that decaprio flick was a pile of 💩

  11. It was a very cute film but I strongly disagree with one of the films central theses which was that the Ziggy Stardust Era was the high water mark in Bowie’s career. The Tommy Stone Character (Bowie’s Berlin Years with Eno and Co.) was a hack and a sellout. Bowie’s peak was his work that followed the Ziggy Stardust persona. His best work is on Station to Station, Low, Lodger and Heroes.

  12. Was lucky to play an extra in 3 scenes, one the opening scene where a line of glam rock kids queue for a gig . I’m the bored with attitude looking one lol
    Also had Michael Stipe tell me he liked my bag ( a futuristic latex spiky backpack) and that he had a skirt just like it ! as he walked past me on set one day.
    In another festival scene we were directed to hang out and about like we were at Woodstock kinda thing – we ran with it aided by our own psychedelic party supplies. Turned into a long day and night lol

    I got the video copy but it wasn’t the kind film I could show me mum lol