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.Tags: Discrimination Against Women EssayCollege Writing Thesis StatementRed Dress 1946 EssayOne Year Business PlanEssay Writing TutorialRoland Barthes Essay The Of The AuthorCollege Essay AssignmentTheses Dissertations
Malvolio is very efficient but also very self-righteous, and he has a poor opinion of drinking, singing, and fun.
His priggishness and haughty attitude earn him the enmity of Sir Toby, Sir Andrew, and Maria, who play a cruel trick on him, making him believe that Olivia is in love with him.
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.
He thinks that he is witty, brave, young, and good at languages and dancing, but he is actually an idiot.
Antonio - A man who rescues Sebastian after his shipwreck.
Antonio has become very fond of Sebastian, caring for him, accompanying him to Illyria, and furnishing him with money—all because of a love so strong that it seems to be romantic in nature.
Maria - Olivia’s clever, daring young waiting-gentlewoman.
Maria is remarkably similar to her antagonist, Malvolio, who harbors aspirations of rising in the world through marriage.
Of course, even when there’s a high level of creativity and production value, this kind of film leans so heavily on the lead performance. From the moment Taron Egerton strides into the film, wearing that sparkly getup with the horns and crashing the rehab session, we believe Egerton as Elton.
It’s a daunting challenge to portray a living musical legend, to capture a look and a sound and a persona without the performance turning into an impersonation. We believe him as the painfully shy prodigy Reginald Dwight, desperate for his parents’ approval; as the genius who sits at the piano and finds the perfect notes to breathe lasting musical life into Bernie Taupin’s brilliant lyrics; as a master showman in command of the worldwide stage, and as a man who nearly kills himself because he’s been conditioned to believe no one will ever really love him. The screenplay by Lee Hall takes full advantage of the wide-ranging catalog of Elton John/Bernie Taupin classics, cleverly matching songs from “Take Me to the Pilot” to “Goodbye Yellow Brick Road” to “Someone Saved My Life Tonight” to “I’m Still Standing” to match the narrative.