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Velvet Goldmine (1998)

 -  Drama | Music  -  23 October 1998 (UK)
7.0
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Ratings: 7.0/10 from 23,361 users   Metascore: 65/100
Reviews: 310 user | 91 critic | 25 from Metacritic.com

In 1984, British journalist Arthur Stuart investigates the career of 1970s glam superstar Brian Slade, who was heavily influenced in his early years by hard-living and rebellious American singer Curt Wild.

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Title: Velvet Goldmine (1998)

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Nominated for 1 Oscar. Another 4 wins & 7 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Cecil
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Female Narrator (voice)
Mairead McKinley ...
Wilde Housemaid (as Maraid McKinley)
Luke Morgan Oliver ...
Osheen Jones ...
Micko Westmoreland ...
Damian Suchet ...
BBC Reporter
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Kissing Sailor
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Young Man
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Storyline

1971: Glamrock explodes all over the world and challanges the seriousness within the flowerpower generation by means of glitter and brutal music. Brian Slade, a young rockstar, inspires numerous teenage boys and girls to paint their nails and explore their own sexuality. In the end Slade destroys himself. Unable to escape the role he created for himself, he plots his own murder. When his fans discovers that the murder is a fake, his star falls and he is forgotten about. 1984: Arthur, a journalist working for a New York newspaper, gets assigned the story about the fake murder of Brian Slade. When Arthur was young and grew up in Manchester, he was more than a fan of Slade. Reluctantly he accepts the assignment and starts to investigate what happened his old glamrock hero. Written by Jack Fairy

Plot Summary | Add Synopsis

Taglines:

Style matters. Even when it comes to murder. See more »

Genres:

Drama | Music

Motion Picture Rating (MPAA)

Rated R for strong sexual content, nudity, language and drug use | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

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Country:

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Language:

Release Date:

23 October 1998 (UK)  »

Also Known As:

Velvet Goldmine  »

Filming Locations:

 »

Box Office

Opening Weekend:

$301,787 (USA) (6 November 1998)

Gross:

$1,043,487 (USA) (11 December 1998)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Rankcolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Much of the dialog comes from Oscar Wilde's writings. See more »

Goofs

A closed-circuit TV camera housing appears outside the theater for Brian Slade's concert as the shot pans across a queue of fans early in the film. Such outdoor CCTV security and surveillance only became widespread in the mid-1980s, while that particular style of camera housing did not appear for some time after that. See more »

Quotes

Brian Slade: Rock and Roll is a prostitute, it should be tarted up.
See more »

Connections

Referenced in The 71st Annual Academy Awards (1999) See more »

Soundtracks

T.V. Eye
Written by David Alexander, Scott Asheton, Ron Asheton (as Ronald Asheton) and Iggy Pop (as James Osterberg Jr.)
Performed by The Wylde Ratttz
Vocal by Ewan McGregor
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Put The Blame On Wilde
17 April 2006 | by (United States) – See all my reviews

It is quite an extraordinary experience to sit through this film years after its controversial outing back in the distant 1998. Like many of the great pieces of art, or wine for that matter, time gives it that extra something that evolves its taste into something that you crave. The erotic innocence of the story is very much Oscar Wilde territory. Innocence, yes. - I've been arguing about it with some people about the inclusion of the word, if not the feeling, innocence in this context. I insist the word is perfectly fitting because at the end of this rainbow there is the longing for love. Ewan McGregor's cock is already famous the world over - and with reason - here it dangles across his frame like a child, unaware of his own nakedness. Jonathan Rhys Mayer is a delight. Strange to see him in feathers after "Match Point" and yet it makes a lot of sense. Christian Bale one day, will leave behind the pouting arrogance that is rapidly becoming his trademark - even as Batman - and come back to the glorious promise he insinuated here. All in all a triumph, Todd Haynes style.


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