The biopic sub-genre has received frequent criticisms as of late regarding its formulaic structure and frequent round edges when chronicling and adapting someone’s life to the big screen.  But, I don’t think I’ve seen a biopic as full of itself as Spinning Gold.

Spinning Gold has been written and directed by film producer Timothy Scott Bogart, son of deceased music producer Neil Bogart.  The film is supposed to walk viewers through Neil’s legacy, however, taking an indulgent turn, the biopic is nothing more than a list of achievements by the founder of Casablanca Records – all highs, hardly any lows.  It’s unlikely but, sure, somebody could go through life having been blessed by avoiding personal pitfalls.  But, Timothy Scott Bogart places lots of emphasis on his father’s ambition;  with an overall message that suggests that risks will eventually be rewarded.  Neil took lots of risks that drowned him in debt, and made him intimidating to his team and an enemy to others he hustled.  It’s an awfully large pill to swallow to believe Neil didn’t have any hard times, especially when his personal life involved infidelity and deceit.  But, Spinning Gold’s writer/director doesn’t want to go near any negativity.  As a storyteller, the filmmaker can’t afford to do that with a biopic – whether he’s related to the subject or not.

Quite frankly, I’d rather stick to reviewing the movie than diagnosing the relationship between the Bogarts.  Because of the large personalities on screen that are supposed to mask how edgeless and uninspired the movie is, Spinning Gold makes for an obnoxious and smug flick. The movie takes itself too seriously. It reminded me of a less silly version of A Futile and Stupid Gesture, Netflix’s biopic on National Lampoon’s co-founder Douglas Kenney. That film was far from perfect, but it’s mischievous tone fit in with Kenney’s playful anarchic behaviour. Likewise for the streamer’s underrated Mötley Crüe flick The Dirt. 

Spinning Gold is more in line with Bohemian Rhapsody, the Queen biopic that won Oscars but split audiences. Its authenticity was suspicious, but it was wall-to-wall with hit tunes. That sleight of hand exists in Spinning Gold as well. Instead of questioning whether artists felt comfortable with Bogart’s guidance and methods, the actors will reenact a song that will evoke affection from the audience. This is usually followed by Neil Bogart (played with detestable aggression by The Last Five Years’ Jeremy Jordan) smirking or celebrating with his comrades. It’s a manipulative process that soon becomes embarrassing and desperate. By the time Neil is campaigning for (and butting heads with) the up-and-comers of KISS, I was cringing in my seat. There’s a sequence involving the creation of KISS’ “Beth” that just about made me turn inside-out. Donna Summer’s portrayal, as well as her rise to fame with the titillating tune “Love to Love You Baby” that instantly makes horny people grind, is so awkward, you wonder if the film is intentionally lifting from the biopic parody Walk Hard: A Dewey Cox Story.

By the end credits, when Timothy Scott Bogart plays archival footage of his father and displays family photographs, my frustration turned to sadness. It’s a reminder of the intentions from which this film was created from, and a reminder of how powerful and detrimental a family ego can be.

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Addison Wylie: @AddisonWylie