FAQ

Definitely yes. I just went to see the film with my 11-year-old daughter, she liked it very much (only thought that the film was a bit too long).

There is drug use, but it isn't overly shoved in your face. The only other potentially problematic theme is probably sexual, but that is alluded to rather than shown. Edit (Coming Soon)

He told them he wanted them to hear it from him, but didn't want their sympathy because it was time wasted when they could be making music. He didn't want to become the media's 'poster boy' for AIDs, which is true to life. Freddie only revealed his plight publicly on November 23, 1991, the day before he passed. Edit (Coming Soon)

Most singing scenes in the movie rely on either vocal stems from Queen master tapes or new recordings by Marc Martel, a Canadian Christian rock singer whose voice is extremely similar to the late frontman's. Rami's voice is also mixed into the vocals too Edit (Coming Soon)

The sound man had placed tape across the master fader, which keeps the volume from getting too loud (perhaps to avoid noise ordinances, but maybe to avoid damaging the amps or PA speakers). Miami then removed the tape and pushed the faders up so Queen would be louder than the previous bands.

During Live Aid, all bands were kept to the exact same volume to prevent any band from running away with the show. Before Queen went on, Beech had the volume boosted to give Queen an extra kick. This is revealed in the documentary 'Queen: Days of Our Lives' which is an excellent companion to this film. It fills in a lot of the blanks and puts things in the proper time line. Edit (Coming Soon)

Carmen, Act 1: 'L'amour Est Un Oiseau Rebelle' (Carmen, Chorus (Habanera)) Music by Georges Bizet Lyric by Henri Meilhac and Ludovic Halévy Performed by Maria Callas Courtesy of Warner Classics, by arrangement with Warner Music Group Film & TV licensing Edit (Coming Soon)

Just like the Queen songs, the opera arias used in this movie are not only beautiful but they also help augment the plot, showcase the characters' feelings, and hint at some future events. The aria that plays during Freddie's intimate talk with Mary is "Un bel di vedremo" (One fine day, we'll see...) from Madama Butterfly by Giacomo Puccini. In this aria, the title character, a young girl named Butterfly (Ciocio-san), speaks of her dream of the future with the man she fervently loves. However, that dream, just like Mary and Freddie's marriage, was never meant to be. The man Butterfly so adores leaves to never return into her arms again, and Butterfly is left alone and heartbroken. I'm not sure who performed in that particular recording, and I think it was never mentioned in the credits. I suspect it might be Montserrat Caballe, though. The aria Freddie plays in Roy Thomas' office is the legendary "Habanera" (L'amour est un oiseau rebelle / Love is a rebellious bird) from Carmen by Georges Bizet. The performer is Maria Callas, the biggest, most talented opera singer of her time, who was hailed as La Divina ("the divine one"). The last opera piece played in the movie is "Signore, ascolta" (Master, listen...) from Turandot, also by Puccini. We can hear it during Freddie's hopeful talk with Mary that happens after he moves into his own house near her flat. The aria is sung by a slave girl Liu who is hopelessly in love with her master, Prince Calaf. She implores him to stay with her and his blind, helpless father, and give up the dream of chasing the love of the dazzling Princess Turandot who executes everyone who dares ask for her hand in marriage. Calaf is touched by Liu's love and devotion, but he still goes off to pursuit Turandot, leaving Liu behind - just like Mary leaves Freddie behind in a way, understandably unsatisfied with being "*almost* everything" to him. In the movie, the aria is performed by the late and great Montserrat Caballe (who also collaborated with Freddie on the album "Barcelona"), may she rest in peace. Edit (Coming Soon)

Mary and Freddie remained lifelong friends. Edit (Coming Soon)