The biopic Freddie Mercury has been criticized for taking too much creative license when transcribing the life of the queen's frontman, use alternative facts for significant events, who has barely explored his racial identity and downplayed his odd experience. "I have never seen a film distort its facts in such a punitive way. It's as if the film wanted to punish Freddie Mercury, UPROXX critic Mike Ryan wrote. "The tragic death of Mercury due to AIDS was a defining moment in the fight for AIDS awareness in the early 1990s. Retouching her illness in her Live Aid performances now seems flippant and cruel. " Green paper, who claims to tell the story of the friendship between the African-American pianist, Dr. Don Shirley, and Tony "Lip" Vallelonga, the Italian-American driver he hired to take him to the depths of the South. However, Shirley's family described the film, written by Lip's son, Nick Vallelonga, as a "symphony of lies." "It was an employer-employee relationship … the only type of relationship that [Dr. Shirley] with all the people he worked with, "said Patricia Shirley Shadow and act about the extent of "friendship" of his brother-in-law with Vallelonga. "When you hear that Tony has been with him for 18 months, I can assure you that no driver has lasted 18 months with my brother," Shirley's brother and Patricia's husband Maurice added. "Anyone familiar with my brother's temper and knowing any driver – the maximum was the one from here in the Urban League's Milwaukee, which lasted at least two months."
Filmmakers have always used a creative license to make reporting more entertaining and fill gaps where first-hand and second-hand information is not readily available. And, of course, we can not expect them to know verbatim the conversations that biopic subjects have had, especially if the people in question, like those in the above movies, were already dead before writing. However, it should surely be expected that the filmmaker will ensure that the veracity of the story is not altered when certain historical precisions are neglected. I remember watching Pocahontas as a child and be caught in romance between the titular American princess and the white English soldier John Smith. It was not until I studied American history at university that I learned how pure the film was. Continuing history
Yann Demange had to go through there to make his film White boy rick. "It's the biopic nightmare", the director told me. "It was like three movies were competing for one movie and that was the one I really wanted to tell, but there is a responsibility because [Rick] is alive and [in prison]I could not just dismiss it. This seems to be Adam McKay's mind when he started working on his Dick Cheney biopic. The screenwriter-director has done a ridiculous amount of investigative work on the former US vice president, reading every book about him, his wife Lynne and his 50-year political career, while interviewing several people who knew and worked with him before signing ViceBut he ended the dialogue and storytelling using the storytelling techniques he used in his previous film, The Big Short, which also focused on real-life events and characters. The big court, I thought we were coming out of this style of narration that has some power, he says Vanity Fair. "When I stumbled on Cheney, I thought, 'Oh, my God. It's perfect. It's such a boring person. It's a bureaucratic genius. And a lot of his power and his maneuvers came in that silent way that we just did not pay attention to. The use of these stylistic styles is a real pleasure and allows us to mix different styles and cover five, almost six decades of American history. McKay tried to stay as close as possible to the facts and even put a disclaimer at the beginning of the movie to explain that despite Cheney's notorious secrecy about his life, they did their best to be as truthful as possible. So is it important for biopics to be historically accurate? Not necessarily, but we must be as close as possible to the truth. It is the responsibility of the filmmakers to make sure that this concerns not only the audience, but also the subjects of their films. Truth in cinematographic power.Read more
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