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- June 21th, 2003
Velvet Goldmine's
outsider-looking-in
Graham Fuller, CSIV, December, 1998
Christian
Bale's sympathetic performance as Arthur Stuart grounds Velvet
Goldmine when it embarks on bathetic flights of fancy. The film's
pivotal moment comes when closeted gay teen Arthur sees Brian
Slade (Jonathan Rhys Meyers) fellating the guitar played by Curt
Wild (Ewan McGregor) - a la David Bowie fellating Mick Ronson's
in glam's most iconic photo - and imagines yelling at his parents,
"That's reel That's me? A decade on, Arthur has become a
reporter - a dour, lonely man - who Is assigned to find out what
happened to his fallen idol; he's director Todd Haynes's onscreen
surrogate, the outsider perpetually looking in, and Bale nails
him.
At twenty-four,
Bale is an old pro - a veteran of World War II (Empire of the
Sun), Agincourt (Henry V), Winona Ryder's embraces (Little Women),
and Henry James's elitism (The Portrait of a Lady). This ruminative
Brit can next be seen opposite Emily Watson in Metroland (another
'70s saga) and, now that Leonardo DiCaprio has thought better
of it, may yet reclaim the role of the serial killer in American
Psycho.
Graham
Fuller: Did you Identify with Arthur?
Christian
Bale: I haven't shagged any rock stars and I've never had Arthur's
hero-worship thing, but I do think he's the character in the film
most people can relate to even if they haven't had those experiences.
A lot of people have said to me, "I felt like Arthur did"
- you know, those teenage years of feeling completely isolated
and creating your own little world in your bedroom.
GF:
Did you go through that even though you were a child star?
CB: I went
through it because I was in movies. When I was doing films like
Empire of the Sun I was getting the kind of attention most teenagers
never get. But back at home in Boumemouth [Dorset, England] everybody
suddenly knew who I was and I'd get into fights with strangers
who'd come up to me and say, "Are you that bloody actor.?"
or I'd find out girls were saying they were dating me, so I spent
most of the time trying to be Mr. Invisible. I became almost a
recluse between fourteen and fifteen.
GF:
You play Arthur at two different ages. How did you reconcile the
boy with the man?
CB: I played
it as two different characters. The only consistent thing about
Arthur is he's a loner even when he's in the thick of the pop
world in London. I don't have any message to give about him except
that it was upsetting for me when I did my last shot and had to
go and take the clothes off. I know it's a pretentious actor thing
to say, but it did feel like I was saying goodbye to a friend
I'd never see again.
GF:
Why did Arthur climb back into his shell?
CB: Having
experienced something so liberating and feeling let down when
it ended, he reverted to that feeling of being alone in his bedroom,
and he became cynical. That's why it's such a big thing for him
to go back and investigate the era when he'd had the best time
in his life - it shows him what he's lacking now.
GF:
As Arthur searches for Brian, the film leads him back to Curt,
with whom he'd had a brief sexual Idyll. Does Curt recognize him?
CB: Yes.
It's a huge moment for Arthur, who thinks he might have been an
idiot for believing in everything glam rock meant to him. Curt
doesn't tell him he remembers him, but by passing on to Arthur
the brooch that has come down to him from Oscar Wilde via Brian,
Curt's saying, "Yes, I remember you, and no, you weren't
an idiot. It was a fantastic time and we're all missing what it
gave us."
GF:
Did Velvet Goldmine get your acting Juices flowing?
CB: Very
much so. I felt I'd dried up for a couple of years and wasn't
interested in what I was doing. I was desperately struggling to
be interested, but it wasn't happening. There wasn't even a question
of that when I did Empire of the Sun because at thirteen you feel
you've got nothing to lose. I know some emotion went out of my
work, but I think I've managed to get it back on a couple of recent
films and Velvet Goldmine is one of them. That's because I could
risk making a complete fool of myself in front of the people I
was working with, which is always when you give your best performances.
You might say to yourself, What are you doing? But you just can't
stop yourself doing it, and walking that line is the best feeling
you can get as an actor.
COPYRIGHT
1998 Brant Publications, Inc.
COPYRIGHT 2000 Gale Group
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