The Biopic: Why Hollywood Loves Profiting off of Celebrities’ Lives

By Asha Johnson, Senior Writer  Edited by Tessa Reiner

The biopic or biographical drama is a movie genre that has been done in Hollywood for decades since 1906 with The Story of the Kelly Gang. These movies often spark curiosity within the viewer, making them feel like a fly on the wall, peering into what goes on in celebrities' lives behind closed doors. With this October’s release of the highly anticipated biopic about Bruce Springsteen, Deliver Me From Nowhere, starring Jeremy Allen White, another biographic film has come back into pop culture's consciousness. These biopics have become increasingly lucrative with awards, box office success, and famous stars, and there has been an influx of them in recent years, with a new one almost every month. However, it cannot be denied that some biopics exploit the lives of celebrities rather than tell their stories.

According to Ellen Cheshire, the author of “Bio-Pics: A Life in Pictures,” biopics are a dramatized way for people to look at someone’s life. Some focus on specific moments while some show their whole life from childhood until death. 

There is a well-perfected formula behind the biopic. Screenwriters and directors focus on the highs and lows of the subject's life. Despite being about a celebrity people do not know personally, audiences resonate with the subject and feel an emotional connection to their story. Additionally, a lot of biopics position their subject as an “underdog,” making it easier for viewers to digest their story. They see how their lives played out and how they got into their career and eventual celebrity status. Biopics usually end with a happy ending, showing the subject finally living the life that they dreamed of through stardom and accolades. These biopics are seen as a form of history; often marketed or perceived to be factually accurate and encompassing a whole view of celebrities’ lives. 

According to Will Scheibel, the chair for the English Department and Professor of Film and Screen Studies at Syracuse University, biopics are a tried and true formula for Hollywood and are familiar to audiences.

“Audiences now are very familiar with the conventions of biopics, so they know what to expect. Biopics, like all film genres, promise to deliver on those expectations,” he said. “They promise to satisfy those expectations while at the same time providing just enough surprises to satisfy audiences' desires for novelty. So maybe that’s in an actor showing a completely different side of themselves. Like, who knew that Timothée Chalamet could do such a convincing Bob Dylan impression in A Complete Unknown?” 

Part of the appeal of biopics is due to parasocial relationships and celebrity culture. People have an emotional connection with celebrities that often leads them to want to know more about them and their lives. They play into the emotional connection that people feel when it comes to celebrities and create a passionate story about them. It is a win-win for viewers and Hollywood—not only does Hollywood make a profit, but viewers leave feeling like they relate to their favorite celebrity. 

Biopics are a winning formula within Hollywood, so they continue to create them. In recent years, biopics have seen a level of prestige that they haven’t before, making them their own artform. They win awards, and studios continuously push them out to box office success. For instance, Bohemian Rhapsody, a biopic about the band Queen, grossed over $911 million dollars in the box office globally. These movies have cultivated amazing performances by their leads, backed up by decorated directors and screenwriters. 

“I think on the one hand, Hollywood likes genres. Genres are in the interest of efficient, cost-effective storytelling. In other words, Hollywood likes to recycle commercially proven formulas,” Scheibel said. “I think that’s one reason that Hollywood is invested in the biopic [because] like any genre, it has a certain economic appeal. It’s associated with serious drama, unlike other genres like comedies [that] tend to not get award recognition or critical acclaim. Musicals may be hit or miss, but biopics tend to be seen as serious movies, and they're also associated with middlebrow prestige.”

Despite the success of biopics, they are not without their controversies. Many biopics have been seen as disrespectful to their subject and were ethically questioned, leading to criticism. Some exploit or cover up aspects of celebrities' lives or traumas, offering a distorted view of a subject’s life, and glossing over the problematic aspects of their story. For instance, in Baz Luhrmann’s Elvis the sizable age gap between Elvis Presley and his wife, Priscilla Presley’s marriage is not acknowledged. Some biopics have gone into production against the wishes of a celebrity or their estate, and have been criticized by them for false storytelling and disrespectful representation. Some biopics do not give respect to the subject or their story, focusing more on making a profit and fanfare than on the person whose story is being told. 

“Biopics can be exploitative when they reshape real lives for entertainment, reducing complex people to simplified narratives. A person’s trauma, addiction, or private relationships can become story beats or marketing hooks,” Cheshire said. “For living subjects, that means seeing their worst moments dramatized for profit, maybe that's OK, if they are getting a cut, or done with great panache, such as the Elton John biopic, Rocketman.”

When the subjects of biopics have passed away by the time their biopic is created, it is up to their estate to approve and co-sign the movie. If an estate has not approved a biopic, it is classified as unauthorized. 

“When families or estates are involved, a different problem arises: the more controversial or difficult aspects of a person’s life are often softened. Ray and Bohemian Rhapsody are two well-known examples, where some of the subjects’ more excessive or seemingly controversial behavior was smoothed out,” Cheshire said. “This usually happens because filmmakers need access to music rights or the blessing of those in control. Conversely, when permission isn’t granted, filmmakers must improvise. The recent Jimi Hendrix and David Bowie biopics couldn’t use the artists’ original songs. Jimi: All Is by My Side avoided the problem by focusing on his pre-fame years, while the Bowie film’s ‘sound-alike’ tracks were widely mocked.” 

The overabundance and popularity of biopics today highlight the power of celebrity culture. The movies are a way for viewers to relate to and have a bigger emotional connection with celebrities by getting to see their story play out from beginning to end. However, the exploitative nature of some biopics is not something that should be brushed under the rug. Biopics are not always true and can depict their subject in a harmful way, manipulating their trauma and past. Furthermore, they are not always supported by the celebrities’ estate. As they continue to grow in popularity, biopics should be handled with care and respect, humanizing the subject and telling their story in a way that audiences can connect with. 

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