The Soundtracks of Our Lives #7: Velvet Goldmine, A Glam Rock Symphony on Screen

"Although what you are about to see is a work of fiction, it should be played at maximum volume." A proclamation in the first frame of the film, and one that hints at what we will see and how we should watch it. But such a suggestion is not new and appeared on the back of David Bowie's record The Rise and Fall of Ziggy Stardust and the Spiders from Mars ("To be played at maximum volume").

And that is the same stated intent of Todd Haynes, who has taken on the arduous task of staging the birth, rise and triumph (with subsequent decline) of the most brazen and rich musical genre of all, glam rock. Starting with the title of the film, a direct homage to David Bowie's song of the same name recorded in 1971 during the sessions of Ziggy Stardust, and eventually excluded from the album, only to appear later in 1975 as a B-side of the single "Space Oddity". 

As a trailblazer of glam rock and a cultural icon, David Bowie's impact on music, fashion and art is immeasurable. While not a direct portrayal of Bowie himself, Velvet Goldmine draws heavily from his persona and music to create a rich tapestry of glam rock mythology. Bowie's influence can be felt in the film's aesthetic, themes and soundtrack choices, especially concerning the choice of protagonist.

Indeed, the glitzy, glamorous world recreated by the director revolves around Brian Slade's rise to success, as seen through the eyes of journalist Arthur Stuart (Christian Bale), who, in a flashback, goes back over the years and recalls his past and his devotion to Brian. Brian Slade – impersonated by the magnificent Jonathan Rhys Meyers – is a character whose musical prowess and flamboyant persona captivate audiences and blur the lines between reality and fantasy.

Through his electrifying performances and charismatic presence, Brian Slade embodies the essence of glam rock and leaves an indelible mark on those around him. From the glittering stages to the intimate moments of introspection, Brian Slade's musical journey in the film is a rollercoaster of fame, identity and self-discovery. Through his music, he challenges conventions, pushes boundaries and ultimately confronts the price of artistic freedom.

Already from the epic beginning of the film, which gives a beautiful glimpse of what glam rock and the 70s were like, to the notes of Brian Eno's addictive and disrespectful "Needle in the Camel's Eye". Boys put on make-up, girls dress as men and the music is only interrupted for a moment when, from a shop window, they catch a glimpse of the star who supposedly started it all, Jack Fairy. And from there begins a visual and musical narrative from the beginning of Brian Slade's career.

In my opinion, the first truly touching moment of the film is Brian's first live performance. Sitting with acoustic guitar and purple cassock, surrounded by his glam-goth band, he delivers a wonderful version (sung by Rhys Meyers) of Steve Harley & Cockney Rebel's intimate and insightful "Sebastian". The audience, however, does not seem to appreciate the intimism and delicacy, as they are used to more hard rock sounds.

Everything changes when immediately afterwards Curt Wild, played by Ewan McGregor and clearly inspired by Iggy Pop, takes the stage, but who, like Bowie, did not allow the right to use his name. With his band, The Rats (see The Stooges) and in his voice, he plays the powerful "TV Eye", which sends the audience into raptures, and most of all, Slade, for whom it is love at first sight. A life and musical romance began between them, leading them to collaborate and record songs together.

At the same time, the rise to success of Slade and his band, The Venus in Furs, an obvious reference to The Velvet Underground's song from 1967, becomes increasingly rapid. Iconic are the two video clips that Brian Slade managed to record after a successful and lucrative contract with a major record company.

The song "The Ballad of Maxwell Demon", a sort of alter ego of Brian Slade (strongly resembling David Bowie / Ziggy Stardust), appears as a real video clip, shown in full; the song was recorded for the film and sung by the actor; however, a little later in the film, another video clip appears of the song "The Whole Shebang", this one however performed by Grant Lee Buffalo.

But at the centre of all of it now is Brian and Curt's love story, which reaches a climax of happiness and this is underlined by a skilful choice of music, in particular two songs that tell the story of Brian Slade's carefree attitude: Roxy Music's "Virginia Plain", in the background during a funny photoshoot of the band; and Lou Reed's "Satellite of Love", in a very romantic scene of Brian and Slade on a rollercoaster.

Unfortunately, however, everything soon falls apart and the first contrasts between the couple begin; Brian and Curt gradually break up, and Brian's musical decline also begins, highlighted above all by a scene in which Brian is seen wandering alone in the city at night, recognised by no one, glimpsed only for a moment by Jack Fairy, and accompanied by the melancholic and very apt notes of "Bitter-Sweet", a song performed by The Venus in Furs with Thom Yorke on vocals.

Brian is now lost within himself and falls victim to the character he created and his alter ego, Maxwell Demon. Like Dorian Gray (Oscar Wilde is mentioned very frequently throughout the film), there comes an unstoppable end, which closes the film with an unforgettable video clip scene featuring the amazing and heartbreaking song "Tumbling Down" by Steve Harley & Cockney Rebel, where an all-glittered Brian Slade ends up swaying over a crystal lamp, throwing feathers on the pavement. The end to the glam and glam rock.

From the first notes that echo through the opening sequence of Velvet Goldmine, it's clear that music is not just a backdrop but a character. From the rebellious spirit of Curt Wild to the enigmatic allure of Brian Slade, music serves as a mirror that reflects the hopes, fears and desires of the characters in the film. It weaves a tapestry of sound and emotion that connects past and present, fantasy and reality, creating a mesmerising backdrop against which the characters' journeys unfold.

As the camera swirls through a sea of glitter and sequins, the music pulsates with a sense of anticipation and rebellion. Each beat, each guitar riff, sets the tone for what's to come, drawing viewers into the seductive and chaotic world of glam rock. We will find the same incisiveness in another great classic of the 1990s, Danny Boyle's tumultuous and provocative masterpiece, Trainspotting, which we will discuss in our next episode.

What makes Velvet Goldmine's music stand out in the realm of film soundtracks? Are there specific songs or musical sequences in the film that stand out as particularly iconic? Have any songs from Velvet Goldmine gone on to become memorable or popular outside of the film?

Leave your opinion in the comments below!