Why I Love: Almost Famous

On the whole I’m not a big believer in having a single favourite film, at least not personally. Others may find it easier to raise a single example from the multitudes and hail it, but I find this much harder. Films come in so many shapes and sizes that direct comparisons often seem pointless, they are all designed for different purposes (other than the entertain I suppose but even that could be argued to be secondary in some cases) and as such will impact people differently, or something impact the same person differently over time. This is all a roundabout way of saying that sometimes when my mind does consider the question there are only ever a few films I consider for that top spot, and Almost Famous is always amongst them.

Cameron Crowe’s 2000 ode to childhood, music and the pangs of first love has spoken deeply to me since I first watched it, but it is only over time that I have really come to appreciate what a remarkable film it is and also why it feels so special to me, personally. For those unfamiliar with the film it is a semi-autobiographical story dealing with William Miller (Patrick Fugit), a 15 year old boy who manages to get a gig writing an article for Rolling Stone magazine, a task that requires him to go on tour with an up and coming (fictional) band called Stillwater, The film plays out as a coming of age road movie as William’s eyes are opened to the world, but also as a love letter to a particular time in musical history and to those whose devotion to the music and artists comes to define them. Crowe balances a very thin line between waxing nostalgic about the good times, but not shying away from the darker elements either, as such it becomes so much a celebration of everything rock and roll without feeling false. But the backing and setting only work so well in conjunction with the main story, the plot machinations of which could have derailed the film early on but are perfectly handled so that by the time William gets on the bus, much to the chagrin of his overbearing mother (the superb Francis McDormand), we know exactly who he is and where he is coming from.

As it plays out he meets Penny Lane, one of the ‘band-aids’ who tour with Stillwater, played by Kate Hudson with such depth of feeling and damaged emotion that it makes me consistently depressed to view the direction her career has taken since the film’s release. She is revelatory here (deservedly Oscar nominated) making Penny so much more than a love interest, and as William falls for her over the course of the film, so do we. And therein lies the magic. Crowe lets his film breathe, he creates such a vibrant cast of characters, each rich and deep and then lets us spend time with them on tour a William does. But it never feels aimless, there are always short-term goals – William’s ever-elusive interview with Russell Hammond (Billy Crudup in another brilliant performance), his Rolling Stone deadline – which propel the story forward but don’t overwhelm the film’s more subtle moments. In fact when the film was released on DVD and Blu-Ray Crowe released an extended ‘Untitled’ cut of the film, which added nearly 40 minutes of footage, pushing the film to over 2 and a half hours, and yet this remains my preferred version of the film. Everything added contributes to the film and I find it flows better as a result with more little character details sketched in.

Along with the performances Crowe’s deft touch with music again comes to the forefront here, perfectly accompanying and enhancing the visuals without feeling like a greatest hits of the 70s. There are some famous tracks here for sure, but it is often the smaller instrumental contributions from Nancy Wilson that stick in the mind. To my mind this crystalises in a scene late on in the film that simply involves William saying goodbye at the airport, but in that simplicity is such a range of emotion, wonderfully etched without veering into sentimentality. It’s perfect.

On a personal level the notion of coming of age is one I find myself returning to in the films that I find real connection with. I think it’s the sheer force of change and loss of innocence that resonates, there are few things as empathetic to a view as a lost character finding their place in the world, or anything as purely heartbreaking as someone’s naivety and optimism being crushed by the often harsh realities of life. Almost Famous definitely veers towards the former of these scenarios, and its optimism is a key weapon in its continued appeal. Many criticise Cameron Crowe for his positivity, but I find his movies heartfelt and while he is certainly prone to saccharine moments these always stem from genuine emotion and character, there is nothing false or cynical about the best of his work and to me Almost Famous walks this line perfectly, providing an enriching and life-affirming experience every time I watch it and as such will be a film I continue to treasure.