Sir Love Movie Essay

Sir Love Movie Essay-3
Thus, Viola finds that her clever disguise has entrapped her: she cannot tell Orsino that she loves him, and she cannot tell Olivia why she, as Cesario, cannot love her.Her poignant plight is the central conflict in the play. Orsino - A powerful nobleman in the country of Illyria.But Maria succeeds where Malvolio fails—perhaps because she is a woman, but, more likely, because she is more in tune than Malvolio with the anarchic, topsy-turvy spirit that animates the play. Sir Andrew Aguecheek attempts to court Olivia, but he doesn’t stand a chance.

Thus, Viola finds that her clever disguise has entrapped her: she cannot tell Orsino that she loves him, and she cannot tell Olivia why she, as Cesario, cannot love her.Her poignant plight is the central conflict in the play. Orsino - A powerful nobleman in the country of Illyria.But Maria succeeds where Malvolio fails—perhaps because she is a woman, but, more likely, because she is more in tune than Malvolio with the anarchic, topsy-turvy spirit that animates the play. Sir Andrew Aguecheek attempts to court Olivia, but he doesn’t stand a chance.

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Orsino is lovesick for the beautiful Lady Olivia, but becomes more and more fond of his handsome new page boy, Cesario, who is actually a woman—Viola.

Orsino is a vehicle through which the play explores the absurdity of love: a supreme egotist, Orsino mopes around complaining how heartsick he is over Olivia, when it is clear that he is chiefly in love with the idea of being in love and enjoys making a spectacle of himself.

In such a world, homoerotic attraction cannot be fulfilled.

The opening moments of Dexter Fletcher’s stylish and greatly entertaining jukebox musical “Rocketman” reminded me of Bob Fosse’s 1980 masterpiece “All That Jazz.” Fosse’s semi-autobiographical classic starts with Roy Scheider’s legendary choreographer-director Joe Gideon conversing with the Angel of Death — yep, the Angel of Death — and she’s played by Jessica Lange.

Sebastian is not as well rounded a character as his sister.

He seems to exist to take on the role that Viola fills while disguised as Cesario—namely, the mate for Olivia. Malvolio - The straitlaced steward—or head servant—in the household of Lady Olivia.

It’s astonishing how often certain lyrics are so perfectly suited to mirroring and expanding upon the moment at hand, resulting in some truly beautiful sequences, as when Elton, on the cusp of stardom, sings “Tiny Dancer” () at a groovy, increasingly dreamlike party in Hollywood.

At times this device requires a timeline shuffle, e.g., a performance number set to “Saturday Night’s Alright for Fighting” in a rough-and-tumble honky-tonk joint when Elton was still a teenager named Reginald Dwight, or Elton belting out his 1973 hit “Crocodile Rock” on the night of his American debut at the Troubadour in West Hollywood in August of 1970.

Rated R (for language throughout, some drug use and sexual content). Director Fletcher (who took over for the MIA Bryan Singer in the final weeks of principal photography on “Bohemian Rhapsody”) has delivered a glitzy, ambitious and gorgeously appointed interpretive musical worthy of Sir Elton’s glorious artistry.

And while this is a largely affectionate and sympathetic tribute, the film pulls no punches when focusing on Elton’s mercurial personality and his self-loathing, nearly fatal deep dives into addiction.

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