The new biographical film Midas Man delves into the life of Brian Epstein, the manager behind the Beatles’ meteoric rise to global superstardom. Epstein, known for his pivotal role in transforming the band from scruffy Liverpool musicians into the polished pop icons they became, is a figure many are familiar with. Most notably, it was Epstein who dressed the Beatles in collarless gray suits and gave them their iconic moptop haircuts, an image that would go on to define the 1960s and send thousands of fans into a frenzy.
Beyond his impact on the Beatles’ image and international success, Epstein’s personal life also features prominently in Midas Man, with the film offering a glimpse into his struggles as a closeted gay man, his dependency on substances, and the toll these took on his relationships. Yet, despite its ambitious scope, the film often feels more like a standard made-for-TV drama than a groundbreaking biopic.
A Film That Tells the Story, But Not the Whole Story
Directed by Joe Stephenson, Midas Man portrays Epstein’s life as a whirlwind of personal and professional triumphs and tragedies. The film touches on several key moments from Epstein’s life, including his first encounter with the Beatles at Liverpool’s Cavern Club, his efforts to land them a record deal, and his eventual decline marked by addiction and personal isolation. The film also explores Epstein’s personal relationships, particularly with his parents—Queenie (Emily Watson) and Harry (Eddie Marsan)—as they struggle to come to terms with his sexuality. These aspects of Epstein’s life, while undoubtedly important, are presented in a rather formulaic manner that feels more like tabloid fodder than a deep exploration of his complex character.
Despite the film’s efforts to shed light on the personal turmoil Epstein faced, including his secretive gay life and his strained relationships, there’s a sense that Midas Man fails to fully capture the nuances of his existence. Instead of diving into Epstein’s emotional depth, the film often resorts to clichés and superficial portrayals, making his pain and isolation seem more like afterthoughts than the central themes of the narrative.
Lack of Authenticity Diminishes the Impact
A significant challenge for Midas Man was its inability to secure the rights to use the Beatles’ music. As a result, the film features only cover versions of songs like “Please Mr. Postman” and “Money,” leaving a gaping hole in the authenticity of the production. The Beatles’ music was integral to their rise, and its absence during crucial moments of the film—such as their historic performance on The Ed Sullivan Show—is keenly felt. While other Beatles biopics, such as Backbeat (1994), navigated this limitation with creativity, Midas Man struggles to make up for the loss.
The portrayal of the Beatles themselves is a mixed bag. Blake Richardson captures Paul McCartney’s signature grin and cherubic charm, while Jonah Lees brings John Lennon’s vulnerability to life. However, the actors’ performances can feel more like impressions than fully realized portrayals, detracting from the film’s credibility.
The Performance of Jacob Fortune-Lloyd as Epstein
Jacob Fortune-Lloyd, known for his role in The Queen’s Gambit, takes on the role of Brian Epstein with an intelligent and nuanced performance. He adeptly portrays Epstein’s quiet ambition and his vision for the Beatles. However, Fortune-Lloyd’s physical resemblance to Epstein is somewhat lacking, and his portrayal lacks the refined polish that defined the manager’s public persona. Epstein was known for his aristocratic charm and impeccable manners, qualities that Fortune-Lloyd’s portrayal struggles to convey fully.
Missed Opportunities in the Storytelling
The film presents Epstein as a man consumed by his work, his devotion to the Beatles eclipsing his own personal desires. His relationships with the band members, particularly as they begin to outgrow him, are crucial moments in his story that are left underexplored. There is a missed opportunity to delve deeper into how Epstein’s connection with the Beatles evolved, especially once the band stopped touring in 1966, and his increasing sense of isolation became more pronounced.
Furthermore, the film fails to provide much insight into Epstein’s personal tastes and interests outside of his professional endeavors. We learn little about his hobbies or preferences, leaving the character feeling one-dimensional in certain respects.
A Troubling Conclusion
The film ends with Epstein’s tragic death on August 27, 1967, from a drug overdose at the age of 32. This moment, which should have been the film’s emotional climax, feels underwhelming. While the film hints at the pressures Epstein faced, particularly in light of his reliance on amphetamines and barbiturates, it doesn’t do justice to the gravity of his final moments. Epstein’s death was a slow and painful descent into self-destruction, and Midas Man misses the opportunity to explore this in depth.
A Watchable Yet Flawed Biopic
In conclusion, Midas Man provides a surface-level look at the life of Brian Epstein, but it fails to offer a truly profound exploration of his character or legacy. While the film’s performances are generally solid, and the devotion Epstein had to the Beatles is clearly depicted, the lack of authenticity and the film’s formulaic approach to his personal struggles prevent it from being the definitive biopic Epstein deserves. Perhaps one day, a more in-depth portrayal of this pivotal figure in music history will be made—one that captures both the magic he helped create and the personal torment that haunted him.
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