The 1970s, Rock Stars, and Coming of Age: That's Almost Famous

The other day, I wanted to watch a feel-good movie and decided to put on Almost Famous, a 2000 coming-of-age film by Cameron Crowe that had been on my list for a while.

The film captivated me in a way I didn’t expect. The nostalgia it builds and its story, characters, and music made me think, “I wish I had lived in the 70s and been a journalist writing for Rolling Stone.” Although Frances McDormand and Philip Seymour Hoffman don’t have major roles, their presence and skillful performances significantly contribute to the film. Their acting made me feel very good.

In the film, William Miller is our main character—a young boy who is alienated by his peers because he is younger than them. His mother tells him his real age, believing that graduating high school earlier than his peers will give him an advantage in life, and she says to him: "Take those extra years and do what you want. Go to Europe for a year. Take a look around. See what you like." We could say that the film follows this idea. The records his sister leaves him turn William into a music-loving teenager who writes about music. At 15, as a high school senior, he uses the extra years given to him to go on tour with the band Stillwater to write for *Rolling Stone*.

This journey becomes a story of William growing up in a world where genuine connections are hard to come by, surrounded by real emotions, adults, rock stars, and good music.

If I were 15, Penny Lane (Kate Hudson) would be the character I’d want to be. The character of Russell (Billy Crudup) is exactly the kind of charismatic rock star one could fall in love with. Although the Penny Lane, William, and Russell triangle is quite formulaic, it doesn’t bother the audience. The character of Penny Lane doesn’t exist solely through William; she finds space in the film to show herself. Could it have been better? Yes. But as it is, it offers more than just the story of a 15-year-old teenager’s first love. This applies to Russell as well.

The mentor-apprentice relationship between Lester Bangs (Philip Seymour Hoffman) and William Miller (Patrick Fugit) holds an impactful place in the growth story we witness. Their phone conversations and the insightful advice Bangs gives him made even me feel safe while watching.

The fact that the film has a semi-autobiographical aspect certainly contributes to its success as a coming-of-age and music film because Crowe himself wrote for *Rolling Stone* in his youth. His personal experiences and his apparent love for the era infuse the film with a romanticized nostalgia of the 70s.

Since the aim was to create a feel-good music film, the era is approached very romantically, and while its problematic aspects are shown, they are not emphasized. The focus never shifts to these points, so most viewers don’t dwell on them by the end. While we could talk about character development, it’s not consistent throughout. For instance, the transformation of the mother character played by McDormand or Russell’s character is presented more as a before-and-after product rather than a process. Especially towards the end, it feels like the film concludes just because it "needs to wrap up."

Despite the negative criticisms we could raise, the film overall, with its story and dialogue, is truly a feel-good movie. William’s fun journey, following the path set by his sister’s note, “Listen to Tommy with a candle burning and you’ll see your entire future,” is a great movie to watch when you want to feel good.