Don't let the presence of Kate Hudson discourage you from seeing Almost Famous, Cameron Crowe's beautiful and rewarding ode to music, growing up, and lost love. Hudson seems to be pivotal to misconceptions concerning this wonderful film, because, yes, we know, the films she's starred in as of late, well, suck. However, if you can believe it, Hudson is perhaps the brightest of Almost Famous's many stars. She's adorable, alluring, wispy, and yet with the capacity to completely break your heart. Kind of like the film itself.
The film centers on William (Patrick Fugit), a wonderfully unassuming rock n' roll afficianado who spends the length of the film trying to convince people he isn't so innocent. Nice try, Will. But the fact that he remains so is part of the film's point. He is younger than all the kids in his high school, over-protective mother Elaine (Francis McDormand) putting him in school two years ahead of schedule. William soon catches the attention of Rolling Stone magazine who is unaware that William is all but 15 years old. They want him to write of a Black Sabbath concert but he settles in with an aspring rock group, Stillwater, instead. The assignment is simple: get an interview with guitarist Russel (Billy Crudup). The journey is decidedly more challenging.
On the way he meets Penny Lane (Kate Hudson) a "band-aid" and not a groupie. She's confident, mysterious, and has a kind of youthful charm that he falls head over heels for. The scene in which the two attempt to share some honesty by saying their respective ages is hilarious, and gives insight into both of their characters. Anyway, Penny is in love with Russell, who is unavailable and has a girlfriend at home. They have an on-and-off relationship on the road, which comes to a stop when the tour stops. Penny, Russel, and William form a interesting little love triangle and it takes all of them a while to see that at least one of the others is using them to some end.
As the interview gets repeatedly postponed, the trip gets longer, Elaine becomes more and more worried and alone. William vows only to miss one test. Yeah, not so much.
The fact that love-smothering, hyper intellectual, drug-resisting Elaine would allow her son go on tour with a rock n' roll band is well, implausible. And the character of Elaine is very much a caricature, yet McDormand, a capable actress, infuses the character with enough genuine emotion to make Elaine seem authentic, even likable. Her "don't take drugs" shtick is funny, but her breakdown over the phone as she tries to tell William she loves him is unexpectedly affecting.
Fugit has enough boyish grace that we come to love him even if his character is little changed by the time the credits roll. Crudup is wonderful, bringing an ego-centric repulsiveness and yet earnest magnetism to Russell. The scene in which he calls up Penny Lane speaks volumes about his character, a very flawed person trying to be better than he possibly is. Phillip Seymour-Hoffman stars also, as Lester Bangs, a riotous rock critic who acts as the film's moral compass. As always, Hoffman is terrific and makes a small role seem bigger than it was probably ever intended. But the standout is Hudson, the wide-eyed seductress, creating an indelible character. Penny has an always-fun-no-hurt mentality that doesn't hold up against her love for Russell, she's a fragile heart that we can assume has had its fair share of pain. There is a scene on plane I will not give away that she so magnificently performs it's astounding. Who knew she could be this good?
The script is poignant and wistful, funny and sad. The dialogue is polished, while only occasionally being showy. It's well-written rather than well-rehearsed. There are some credibility issues, a scene in which a plane becomes a tell-all confessional is a little too convenient, but Almost Famous likes toying with realism and magical movie escapism. Not everything that happens will seem plausible, but boy will it touch you in some way.
Crowe's direction is wonderful, providing some nice touches like the creative opening credits which lend the film a sense of legacy. The credits feel recognizable. He frames the film with care but doesn't overstep his directorial boundary.
When all is said and done, there are so many moments to treasure in Cameron Crowe's Almost Famous. Forget the spectacle of Titanic, the cloying sentimentality of Forrest Gump, or the preachy profoundness of Crash. Almost Famous is the real deal. It's what films were meant to be in the first place.
