Francesca Rudkin: Why are there more musical biopics these days?

Yesterday on Jack Tame’s show, I was talking about the new Springsteen film - Springsteen: Deliver Me From Nowhere - and Jack asked me why there have been so many music biopics recently? It got me thinking about how musicians and their origin stories and struggles with fame have always made for good films, and we’ve always made them.  

But Jack is right, there have been quite a few biopics about musicians recently - think Better Man about Robbie Williams, A Complete Unknown about Bob Dylan, Bob Marley: One Love, Back to Black about Amy Winehouse, Maria about Maria Callas … and there’s plenty more on the way. In 2028, each Beatle is getting their own film, thanks to director Sam Mendes.  

The truth of the matter is probably that they make money. Marvel and comic book superhero cinema dominance is cooling off, and so in recent years Hollywood has turned to the music biopic genre to replace it. It makes sense really. Like comic book heroes, many of these artists lives are steeped in mythology perfect to mine for drama, their stories are part of pop culture. And apart from paying for music rights - they aren’t too expensive to make.

And, we love them. We love the comfort of their familiarity and a bit of nostalgia.  

The music industry also love music biopics, it’s a wonderful way for the industry to reconnect an artist with their audience and create new fans. The Springsteen movie is about the making of his acoustic, folk inspired album Nebraska. I listened to the album in the car on the way home from watching the film. Tick, job done.  

For me, the genre was revitalised with 2005’s Walk the Line, which told the story of flawed genius Johnny Cash and his wife June’s relationship. It told it - warts and all. Around that time, Ray, about Ray Charles, was also released, as was Control, the story of the troubled life and times of Ian Curtis, lead singer of new wave band Joy Division.  

Since then, we have been tapping our toes and reliving our own relationships with the music of Elvis, Elton John, Freddie Mercury and NWA.

As popular as the genre is, and as much as we enjoy the ride, it’s tricky for filmmakers to get these films right. Artists' stories often follow the same narrative beats so can be samey, but it can be risky taking a unique approach. Taking on a lead role can be rewarding for actors in awards season, but fans are judgy when watching an interpretation of their heroes.  

Springsteen: Deliver Me from Nowhere is a good case in point. Aside from a few concert scenes, mostly we watch Springsteen record an album in his bedroom and studio while slipping into depression. It’s hardly a glossy, mainstream rollicking ride.  

If you’re looking for something to watch this long weekend, and watching Jeremy Allen White as Bruce Springsteen isn’t your thing, then hunt out some of our own music stories - which have been turned into excellent documentaries.  

Marlon Williams: Ngā Ao E Rua - Two Worlds, The Chills: The Triumph & Tragedy of Martin Phillipps, Alien Weaponry - Thrash Metal and Te Reo Māori, Shihad - Beautiful Machine, Heavenly Pop Hits - The Flying Nun Story. So many good choices. It’s also worth noting Life in One Chord - the Shayne Carter story - will be available to rent from DOC PLAY from November 6th.  

All beautifully told stories that enrich our lives. 

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Episode Transcript

Speaker 1 (00:06):
You're listening to the Sunday Session podcast with Francesca Rudkin
from News Talks edb SO.

Speaker 2 (00:13):
Yesterday on Jack's Thames Show, I was talking about the
new Springsteen film Springsteen Deliver Me from Nowhere. It's just
hit our cinemas and Jack asked me why there have
been so many music biopics recently, and it got me
thinking about how musicians and their origin stories and struggles
with fame have always made for good films, and we've
always made them. But Jack is right. There have been

(00:35):
quite a few biopics about musicians recently. Think Better Man
about Robbie Williams, A Complete Unknown about Bob Dylan, Bob Marley,
One Love Back to Black about Amy Winehouse, and there's
plenty more to come. In twenty twenty eight, each Beatle
is getting their own film thanks to director Sam Mendes.
The truth of the matter is probably that they make money.

(00:57):
Marvel and comic book superhero cinema dominance is cooling off,
and so in recent years Hollywood has turned to the
music barpic genre to replace it, and it kind of
makes thanks really like comic book heroes. Many of these artists'
lives are steeped in the mythology perfect to mine for drama,
and their stories are part of pop culture. Apart from
paying for music rights, they aren't too expensive to make either.

(01:21):
And look, we love them. We love the comfort of
their familiarity and a bit of nostalgia. The music industry
also love them because it is a wonderful way for
the industry to reconnect an artists with their audience and
create new fans. The Springsteen movie is about the making
of his acoustic folk inspired album Nebraska. I listened to

(01:41):
the album in the car on the way home from
watching the film, so tick job done for me. The
genre was revitalized in two thousand and five with Walk
the Line, which told the story of flawed genius Johnny
Cash and his wife June's relationship. It told it warts
and all, and around that time Ray About Ray Charles
was also released, as was Control, the story of the

(02:03):
troubled life and times of En Curtis, lead singer of
the New Wave and Joy Division. And since then we
have been tapping our toes and reliving our own relationships
with the music of Elvis Or Alton, John, Freddie Mercury
and NWA. As popular as the genre is, and as
much as we enjoy the ride, it is tricky for
filmmakers to get these films right, though, isn't it? Because artists'

(02:24):
stories often follow the same narrative beats, so they can
be a bit samey, But it can also be a
risk taking a unique approach. Taking on a lead role
can be rewarding for actors in award season, but fans
a judge when watching an interpretation of their heroes. Springsteen
delivered Me from Nowhere as a good case and point.
Aside from a few concert scenes, mostly we watch Springsteen

(02:46):
record an album in his bedroom and a little bit
in the studio while slipping into depression. It's hardly a glossy, mainstream,
rollicking ride. But look, hey, if you're looking for something
to watch this long weekend, and watching Jeremy Allen White
as Bruce Springsteen, isn't you'll think? Then hunt out some
of our own music stories which have been turned into
excellent documentaries. Marlon Williams Two Worlds, The Chills, The Triumph

(03:09):
and Tragedy of Martin Phillips, Alien Weaponry, Love This One,
Thrash Metal, Love It, She Had, Beautiful Machine, Heavenly Pop hits,
The Flying Nun Story, so many good choices, and it
is also worth noting Life in One Chord, The Shane
Carter Story will be available to rent from doc Play
from November sixth, all beautifully told stories that enrich our lives.

Speaker 1 (03:31):
For more from the Sunday Session with Francesca Rudkin, listen
live to News Talks it B from nine am Sunday,
or follow the podcast on iHeartRadio