Almost Famous Cameron Crowe Analysis

04 October 2000 Almost Famous: Essay on Entertainment Criticism A rolling stone gathers no moss. If Cameron Crowe is to be believed, a 15-year-old Rolling Stone writer will gather all kinds of things. Not the least of which are life experience, sexual exploits, and rock and roll insights. Almost Famous is Crowe 's semi-autobiographical account of a young man taking the fast lane to adulthood on the tour bus with a rising rock and roll band. The critics are almost unanimous in their praise of this peek at the backstage machinations of the 1970 's rock music scene. The critics feel that Cameron Crowe 's script and direction, combined with breakout performances from Kate Hudson and Patrick Fugit in major roles, and enhanced by the scintillating
Russell tells William to write whatever he wants. William decides that what he wants to write is the truth and then is crushed when Russell decries the entire article as fiction. This costs William his credibility with his editor and he returns home exhausted and disenchanted.

Elaine and Lester provide the chorus that holds it all together as they try to guide William, by phone, through this developmental stage of his life. Lester is the sage with advice like: "These people are not your friends," and "Be honest and unmerciful." Elaine is his conscience, exclaiming, "Don 't take drugs," and "I know what 's going on there." In the end it is mostly a happy song. Penny sets Russell up, tricking him into visiting William at home, and everyone realizes that friends are among the most important things in
In a relative understatement, Johnston called McDormand "terrific" (48). Turan pitched in with the slightly more verbose comment that she was "completely wonderful" (1). Scott was also impressed with McDormand and said she played her role "with glowing intelligence and scary intensity" (2). Berardinelli was the most vocal in support of her when he said: "Frances McDormand should be a shoo-in for a Best Supporting Actress nod for her participation" (2). Hoffman fared, if it 's possible, better than McDormand. In a typical comment, Scott said Hoffman played his role "with guile and gusto" (2). Jay Carr said he was "froggy-voiced perfection" (2). Berardinelli agreed with the assertion that Hoffman had "a wonderful turn as Lester Bangs" (2). This time it was Renshaw who provided the ultimate comment when he said: "Hoffman is yet again is [sic] so good you just want to throttle Hollywood for not allowing him to be a star"