Biographical films have long been a favorite in Hollywood, both for their prestige and the rich roles they provide for actors—roles that can win over audiences and secure Oscars. This year, “Oppenheimer” carried on that tradition, sweeping seven categories, including best film, best director, and best actor. The film took creative liberties to bring to life the story of J. Robert Oppenheimer, the renowned physicist and wartime director of the Los Alamos Laboratory in New Mexico, as he and his team of atomic scientists and engineers raced to develop the first atomic bomb during the early 1940s. Yet, some argue whether the movie stretched these liberties enough. This question is at the forefront of new biographical films that lean more towards interpretation than strict documentation.
One such film on the horizon is the musical biopic “Better Man.” In this film, rock star Robbie Williams is depicted as a monkey, while the rest of his world remains human. It’s directed by Michael Gracey, the visionary behind “The Greatest Showman,” which grossed $435 million. “Better Man” is set to release on Boxing Day in the UK, tracing the monkey version of Williams from a turbulent childhood to fame with Take That, and eventually to his career as a solo superstar.
Coming right after is “Piece by Piece,” a $16 million musical documentary—the first-ever Lego documentary—focused on hip-hop star Pharrell Williams. Pharrell contributed five new tracks for the film and ensured the Lego depictions of his friends, family, and collaborators were as accurate as possible, given the constraints of tiny, blocky figures. His top concern? Perfectly capturing the hairstyles of fellow rappers Pusha T, Kendrick Lamar, and Snoop Dogg.
These films underscore the creative potential of letting biopics veer away from straightforward storytelling. When it comes to musical legends, films like those about Queen and Elton John show that audiences enjoy a wild, imaginative twist on the traditional narrative of rise, fall, and comeback. Others push back against the idea that biographical films should simplify complex lives into tidy storylines. Take, for example, 2007’s “I’m Not There,” where various actors portray the multifaceted Bob Dylan, or 2017’s “Loving Vincent,” an animated look at the final months of Vincent van Gogh’s life, with each frame styled like his paintings.
Creative storytelling can add symbolic richness. A prime example is the cult classic “Superstar: The Karen Carpenter Story,” which is no longer in circulation. This experimental short by Todd Haynes—who also directed “I’m Not There”—cast a budget-friendly version of the Barbie doll as the lead. This 1987 film ambitiously, albeit unevenly, drew parallels between singer Karen Carpenter and Barbie, critiquing American consumer culture. It tackled themes of restrictive feminine ideals and consumerism, portraying anorexia as a desperate grasp for control against unrealistic societal expectations.
What these diverse films suggest is that biopics don’t need to strive for objective truth. They thrive when they dive into the essence and significance of a life—or even a slice of it. By taking creative risks and pushing boundaries, they show that the true spirit of a life is often best captured not by strict adherence to facts, but by reimagining its story.
