Stephen Herek's Rock Star, based loosely on the shenanigans surrounding the change in lead singers for the band Judas Priest, plays like a modern-day fairy tale. Unfortunately, as in many fables, the characters are less clearly delineated than their moral dilemmas. Here, instead of observing real individuals struggling with issues, we are confronted with ciphers wrestling with situations that have been neutered by the need to conform to comfortable formulas. Rock Star becomes a simple narrative about a man torn between living out his fantasy and chasing his dream.
Rock Star offers an element of vicarious, guilty pleasure in the way the fantasy scenario plays out: who hasn't entertained the thought of being wealthy, famous, and universally adored? But there's no real drama to back this up. The movie resorts to a loud, throbbing soundtrack to keep the energy level up. One senses that the story could have had the potential to make a good movie (perhaps even a great one) if only the characters had been sympathetic or credible, but the production's refusal to try anything edgy condemns Rock Star to the rock pile of cinematic mediocrity. And, as an added insult, the resolution relies upon a difficult-to-swallow contrivance.
It's hard to imagine a more devoted fan of the hard rock band Steel Dragon than Chris Coles (Mark Wahlberg). Not only has Chris patterned his look after that of Steel Dragon front man, Bobby Beers (Jason Flemyng), but his band covers only Steel Dragon songs (Chris calls them a "tribute band"). In fact, Chris is so good that he attracts the attention of the real members of Steel Dragon and their manager (Timothy Spall), and, when Bobby decides to leave, the remaining four rockers elect to give Chris a tryout. He passes and becomes the new lead singer. Soon, he has ditched his long-time girlfriend, Emily (Jennifer Aniston), in order to embark upon a lifestyle of debauchery. Dissatisfaction eventually sets in when Chris seeks to be more than just a hired singer and his attempts at creative input are rebuffed.
The best parts of Rock Star are the concert scenes, which are choreographed and staged with flair. It helps that genuine rock veterans like Zakk Wylde, Brian Vander Ark, Jeff Pilson, and Jason Bonham play the members of Steel Dragon - they lend a sense of verisimilitude. And Wahlberg, while not evidencing much range off-stage, exudes some charisma while singing. Rock Star has a slick look, but this is really a case of beauty being skin deep. One gets the sense that Herek was going for a cross between Almost Famous and Boogie Nights; what he ends up with is closer dramatically to The Jazz Singer.
Aside from Spall, who gives an enjoyable turn as the sage manager of Steel Dragon (he's seen and done it all), there are no notable casting choices. Walhberg is just about adequate, but no more. I fail to understand how he gained a reputation as a great actor - it's rare that he shows much more range than Steven Seagal, and this is another case in point. Still, compared to Jennifer Aniston, Wahlberg is a perfect choice. It's not that Aniston is a bad actress (she's solid in comedies and light dramas), but she's woefully miscast here. Her sugar sweet image reduces her character to the level of a symbol (perhaps she should have studied Meg Ryan's work in Oliver Stone's The Doors). Instead of Emily being a vibrant, multidimensional character, she's simply on hand to represent what Chris gives up by succumbing to the allure of fame. The problem is, to care about whether Chris eventually chooses to stay with Steel Dragon or return to Emily, we have to care about Chris and/or Emily, so it's frustrating that neither is effectively realized.
For Herek, the man behind the live-action version of 101 Dalmatians and Holy Man, this is hardly a step in the right direction. I always feel cheated by movies like Rock Star because they take a great notion and fail to do anything interesting with it. I can think of about a dozen compelling stories that could arise from the simple premise of a fan becoming a star - unfortunately, none of them are on screen. We occasionally see hints of these ideas in Cliff Notes fashion - the synergy between fans and their idols, the homoerotic nature of band interaction, the love/hate relationship musicians have with always being on the road, etc. But nothing is developed. Herek seems to think that hinting at or mentioning something is enough, so what we end up with is recycled, superficial material. This Rock Star has very little in the way of shine.
© 2001 James Berardinelli
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