almost famous

FEW WORDS HAVE ACHIEVED THE VAGUE POSITIVISM THAT IS THE WORD "COOL," but Cameron Crowe's Almost Famous makes the most of this loosely defined adjective to create a subtle commentary on cultural maturity. A generational film thirty years late, Almost Famous follows a fifteen year-old aspiring rock journalist as he navigates the world of rock n' roll in 1973. The film follows an improbable, at times nearly absurd plot, and all the better for it, as it perfectly explores coming of age in a whole new way.

Crowe's approach is subtle, carefully wrapped in warm, feel good cinematography and a nostalgic soundtrack of hits from the past. A commentary yes, but not one to jump out and strangle you with its message. Instead, the initial impression of an audience might be Breakfast Club meets Spinal Tap. But this would be a mistake if left there. The story runs deeper by portraying shallowness. The film's protagonist, young William Miller, is struggling from start to finish with his image as “uncool,” only to discover through an 'older and wiser' friend that “The only true currency in this bankrupt world is what you share with someone else when you are uncool.”

The entirety of the script seems to have been written from the perspective of an adolescent. Characters are exaggerated, nearly to cartoon-like levels in some cases, and the dialogue is wrought with angst and an incessant overtone of concern for self image. All of this works towards the end goal of exposing the immaturity of the people William encounters in the rock and roll lifestyle. Despite being older than he is, they do not seem to have any better grip on their reality. The characters repeatedly compare life “out on the road” to “the real world.” They are incapable of reconciling the idea that what they are doing is in fact their real life. This comes to a head when William challenges Penny Lane, a groupie of sorts, shouting “When and where does this 'real world' occur?”

The story must have come naturally to Crowe, who got his start as a bit writer for Rolling Stone at fifteen. He is also married to the front woman of the band Heart, Nancy Wilson. As such the story is well informed and unique. Almost Famous is one in what has become a career of freestanding masterpieces by Crowe. Each of his films is carefully crafted, with a personal and intentional determination that is rare in today's cinema. While working in different genres, his methodical and complete creative style is comparable to such directors as M. Night Shyamalan, Wes Anderson and Quentin Tarantino. It is a refreshing commitment to true art in a medium dominated by mass production for the sake of profit.

Crowe's nearly autobiographical story and smooth humorous writing style make what could be a cutting, harsh screenplay into one of the most feel good films to come across the screen in a long time. From start to finish Almost Famous looks honestly but graciously at the ideas of maturity, relationships, and rock n' roll through the lens of “cool.”