Bohemian Rhapsody Trivia Quiz

Answer: Good thoughts, good words, good deeds

Freddie Mercury was born Farrokh Bulsara, the son of Indian Parsees from Zanzibar and practicing Zoroastrians. At the start of the film, we see him working as a baggage handler at Heathrow and frequenting pubs that feature local student bands. "Out again, Farrokh?" his father asks one evening, just as he's heading out. "It's Freddie now, Papa," Freddie clarifies. "Freddie or Farrokh - what difference does it make when you're out every night, no thought of the future in your head?" his father replies. "Good thoughts, good words, good deeds. That's what you should aspire to."

When Freddie legally changes his name to Freddie Mercury, his father expresses his disappointment. "So now the family name's not good enough for you?" he asks. When Freddie's mother points out that it's just a stage name, Freddie corrects her. "No, it's not. I changed it legally. Got a new passport and everything," he says. Freddie's friends are surprised to learn his real name and that he wasn't born in England, and they fawn over old photos of him as a child. "It was before Freddie went off to boarding school," his sister says, as they look over the family album. "I sent Farrokh away to make a good Parsee boy of him. He was too wild and unruly. But what good did it do? Good thoughts, good words, good deeds," his father says disapprovingly. "You can't get anywhere pretending to be someone you're not."

Answer: He has a bigger vocal range.

Freddie locates Brian and Roger in their van outside the pub. "I enjoyed the show," he tells them. "I've been following you for a while, actually. Smile. Makes sense for a dental student. And you're astrophysics, aren't you?" He tells them that he studies design, and that he also dabbles in songwriting. "Might be of interest to you. It's just a bit of fun, really," he says. "Well, you're five minutes too late," Roger says. "Our lead singer just quit," Brian adds. "Well, then you'll need someone new," Freddie tells them. "What about me?" Roger can't tell if he's joking. "Uh, not with those teeth, mate," he says, referring to Freddie's prominent overbite. Unfrazzled, Freddie begins singing the verse from one of their songs. Brian and Roger join him in the middle, their voices harmonizing nicely together. It's obvious to everyone - they sound good together. "I was born with four additional incisors," Freddie explains. "More space in my mouth means more range. I'll consider your offer."

They begin playing pub and school gigs and sell the van for the money to record a demo record, changing their name to Queen. John Reid, a music manager, gets his hands on their demo record and begins managing them. He gets them on the radio and on "Top of the Pops".

Answer: They get engaged.

Freddie asks Mary for directions backstage and compliments her on her coat. "It's from Biba," she tells him, with her friend adding that she works there. Freddie shows up at the store on the pretext of shopping just to see her again. "I rather liked these. Do you think you have them in my size?" he asks her when he finds some slacks he likes. "This is the ladies' section, so I'm not exactly sure," she says without a hint of judgement. "There wasn't a sign or anything," Freddie replies, embarrassed. "I don't think it should really matter, do you?" she says. She brings more clothes to him in the dressing room and compliments him on his exotic look and style. "I think we should all take more risks," she says.

As Queen's popularity grows, so does Freddie and Mary's relationship. "When I know they're listening, when I know I really have them, I couldn't sing off-key if I tried," Freddie tells Mary one day. "I'm exactly the person I was always meant to be. I'm not afraid of anything. The only other time I ever feel that way is when I'm with you." He tells her not to go anywhere and fetches a small box from his bag. "You're the love of my life," he says, as he opens the box to reveal a diamond ring. "Freddie," Mary whispers. "Which finger do I put this on?" He tells her the wedding finger and pops the question. "Will you marry me?" he asks. Mary accepts, and puts on the ring. "Promise me you'll never take it off," he says. "No matter what."

Answer: Bohemian Rhapsody

It's 1975, and Queen are preparing to record their fourth studio album. EMI executive Ray Foster wants them to reproduce the success of their previous records, but the band are wary of repeating themselves. Freddie has a vision of making a record "with the scale of opera, the pathos of Greek tragedy, the wit of Shakespeare, and the unbridled joy of musical theater", mixing different genres to create a unique musical experience. The band travel to Rockfield Farm to record and return with "A Night At the Opera", but it doesn't get quite the reception they were hoping for. "I'm not entirely sure that's the album you promised us," Foster says after listening to it, and is especially critical of "Bohemian Rhapsody", which the band want to release as the lead single. "It goes on forever. Six bloody minutes," he complains. "I pity your wife if you think six minutes is forever," Freddie replies. "Anything over three minutes and the radio stations won't program it, period," Foster points out. "And what on earth is it about, anyway? Scaramouche? Galileo?" Foster wants to release "I'm in Love with My Car" as a single instead. "That's the kind of song teenagers can crank up the volume in their car and bang their heads to. 'Bohemian Rhapsody' will never be that song," he declares. The band are insistent on releasing it, and they would rather walk away than compromise their artistic vision. "You will forever be known as the man who lost Queen," Freddie says as they leave.

In a fun bit of casting, Ray Foster is portrayed by comedian Mike Myers, who owes part of his early success to the 1992 film "Wayne's World", in which a group of teenagers are seen headbanging in a car while listening to "Bohemian Rhapsody". The film is credited for reviving the song's popularity with a new generation of filmgoers.

Answer: A server at the party

Freddie is constantly away on tour and keeps in contact with Mary, and although it's clear that he still cares for her, he is often oddly distant. Mary confronts him when he returns from a tour in South America. "Something's been wrong for a while now. Say it," she tells him. "I've been thinking about it a lot. I think I'm bisexual," he confesses. "Freddie, you're gay," Mary says bluntly. "I've known for a while now. I just didn't want to admit it." They break off their engagement but remain close, and when Freddie moves into a new mansion, Mary moves in next door.

Freddie throws a party at his new place and instructs Paul Prenter to "shake the freak tree and invite anyone who plops to the ground". The other members of Queen make an appearance but all leave early when Freddie offends them. Freddie is quite inebriated by the time the party winds down, and sits at his piano while the catering staff clear up around him. He reaches over to a particularly attractive server and grabs the inside of his thigh, which doesn't go down particularly well. "I may work for you tonight, but put your hands on me again, and I'll thump you," he tells Freddie. "I'm terribly sorry. I didn't mean to offend you," Freddie says, and offers him a beer. "You're very handsome. I love a man in uniform," he tells him. "So do I," the server confesses. The two men get to know each other over a drink. "You look like you could use a friend," the server tells Freddie, right before they kiss for the first time. "I like you," Freddie says. "I like you, too, Freddie," the server replies, before adding, "Come and find me when you decide you like yourself." He gets up to go. "Can I have your name at least?" Freddie asks. "It's Jim Hutton," he replies.

Answer: He suggests that Freddie accept a solo record deal.

Paul Prenter works for John Reid and takes care of the band day-to-day. Paul is clearly attracted to Freddie and kisses him while they are recording "A Night At the Opera", but Freddie makes it clear that they will never be anything more than colleagues. The film portrays Paul taking steps to isolate Freddie from those closest to him, presumably so that he can have him all to himself.

One night after a gig in New York, Paul broaches the subject of Queen's longevity with John and convinces him to speak to Freddie about an attractive offer from CBS Records for a solo album. John does just that and recommends that Freddie take the deal, as it could mean the end to his frustrations with the band. Freddie turns to Paul, who claims ignorance about the deal, leaving John to incur the brunt of Freddie's wrath. He accuses John of treachery in trying to break up the band, tells the driver to stop the car, and kicks John out. "You're firing the wrong snake, Freddie," John says as he stares coldly at Paul and exits the car. When Freddie asks Paul if he knew anything about this, Paul lies and says that he warned John against it. "We can manage the band. We don't need him," Paul says to Freddie. "What do you know about what I need?" Freddie asks. "I know what it's like not to belong," Paul says. "A queer Catholic boy from Belfast. You know, I think my father would rather see me dead than let me be who I am. I'm gonna take care of you now, Freddie. If you'll let me."

Answer: I Want To Break Free

Freddie has gathered all the band members at his house to talk about their future. "MTV banned our video. The youth of America. We helped give birth to MTV," Freddie says. "It's America," Brian says. "They're puritans in public, perverts in private." Freddie says that he never wants to tour the U.S. again. "And I'm the one being blamed for it. Not you, dear, whose idea, I believe, it was to dress up in drag," he says, looking at Roger. "Not even you, who wrote the bloody thing," he directs to Deacy. "No, crazy, cross-dressing Freddie. Freddie the freak." Freddie proclaims that he is tired of touring and wants to do something different. "We're a band," Brian points out. "That's what bands do. Album, tour. Album, tour." Freddie reveals that he's signed a $4 million deal with CBS Records to make two solo albums for them, giving Paul what he had wanted all along. "Look, the routine is killing us. I mean, you must all want a break from all the arguments," Freddie explains. "You must need a break." The rest of the band can't believe their ears. "Freddie, we're a family," Brian says.

"No, we're not! We're not a family! You've got families, children, wives. What have I got?" Freddie says. "You've got four million dollars. Perhaps you can buy yourself a family," Deacy retorts. "You just killed Queen," Roger says to Freddie, as he leaves the room.

Answer: Freddie had no voice.

Mary tries calling Freddie in Germany, but Paul screens his calls and doesn't pass along her messages. He does the same thing to Jim Beach, Queen's new manager, when he calls. Mary surprises Freddie one rainy day and when he answers the door he asks her what brought her all this way. "I just haven't heard from you in so long, and I phoned and phoned, and then last night I just had this terrible dream that something bad had happened," she explains, as she enters Freddie's living room and sees the remains of what looks to be a drug and alcohol-fueled party the night before. "Freddie, you're burning the candle at both ends," she says. "Yes, but the glow is so divine. Being human is a condition that requires a little anesthesia," he replies. Mary tells Freddie that Jim has been trying to speak to him about a concert for the famine in Africa, and when he asks her to stay with him in Munich until he completes his album she tells him that she and her new boyfriend, David, are expecting a baby. Freddie reacts poorly and Mary decides to leave, but Freddie stops her and asks about her dream. "I was trying to talk to you, but it was like talking to my father. You needed to tell me something but you couldn't say it, because you had no voice," she says as she walks out the door.

Freddie follows Mary out in the rain to a waiting taxi. "I'm happy for you, Mary. Truly, I am. It's just... I'm frightened," he says. "Freddie, you don't need to be, because no matter what, you are loved. By me, by Brian, Deacy, Roger, your family. It's enough. And these people - they don't care about you. Paul doesn't care about you. You don't belong here, Freddie. Come home," Mary says. Paul emerges from the house once Mary leaves, and Freddie asks him why he didn't tell him about Jim's calls. Paul starts making excuses, but Freddie doesn't want to hear. "I want you out of my life," he tells him. When Paul tries to blackmail Freddie, it just steels his resolve. "You know when you know you've gone rotten, really rotten?" Freddie tells him. "Fruit flies. Dirty little fruit flies, coming to feast on what's left. Well, there isn't much left for you to feast on anymore. So, fly off. Do what you like with your photographs and your stories. But promise me one thing - that I never see your face again, ever."

Answer: Live Aid

In Jim's office, Freddie throws himself to the mercy of his bandmates. "I've been hideous, I know that, and I deserve your fury. I've been conceited, selfish," he begins. "What's it gonna take for you all to forgive me?" Brian addresses Freddie first. "Is that what you want, Freddie? I forgive you. Is that it? Can we go now?" he says. "No," Freddie continues. "I went to Munich. I hired a bunch of guys. I told them exactly what I wanted them to do and the problem was, they did it. No pushback from Roger. None of your rewrites. None of his funny looks. I need you. And you need me." Brian asks Freddie to give them a moment, and after stepping outside briefly, Freddie is let back in the room. "From now on every song, no matter who wrote it, music, lyrics - it's by Queen. Not one of us, just Queen. All the money, all the credits, split four ways evenly," Deacy says. "Done," Freddie agrees. "We have a problem with the people around you," Roger begins. "Paul is out. I fired him," Freddie interrupts. "On what pretext?" Deacy asks. "Villainy," Freddie replies. "What else?"

"Bob Geldof," Jim addresses the band. "I called to convince him to squeeze you guys into the lineup for the 'Live Aid' concert, but he wants an answer now. You have to make a decision. Every ticket's already sold. One hundred thousand people at Wembley. One hundred thousand people at JFK Stadium in Philadelphia. A global TV audience around the world of 150 countries. Thirteen satellites." The band express their doubts about whether they can be ready in time. "Anybody who is anybody is doing this concert," Jim says, after reading out a list of the other acts. "Look," Freddie says. "All I know is that if we wake up the day after this concert and we didn't do our part we're going to regret it till the day we die."

Answer: He brings him to meet his family.

Jim Hutton answers a knock on his door and is surprised to find Freddie Mercury standing on his porch. "Do you have any idea how many Jim Huttons there are in London?" Freddie asks. "Well, I didn't want to make it too easy for you," Jim replies. "How have you been, Freddie?" Freddie thinks about it for a moment. "I've been a bit lost, to be honest. You were right. I could do with a friend. Would you like to have tea with me?"

The scene cuts to Freddie and Jim sitting in his family home, having tea with Freddie's father, mother, and sister. "So, Jim, how do you know Freddie?" Kashmira asks, breaking the awkward silence. "Do you work together?" his father asks. Jim shoots a panicked look over at Freddie, who calmly takes Jim's hand in his. "Jim's my friend," he says simply. "Wonderful to have friends," Freddie's mother says with a smile. Suddenly, Freddie announces that they have to go. "We've gotta get to Wembley. Would you believe it? Jim's never been to a rock concert," Freddie says. "Queen are playing at 'Live Aid'," Kashmira explains. "We're all doing our bit for the starving children in Africa, and nobody's taking any money," Freddie says, as his father walks up to him. "Good thoughts, good words, good deeds. Just like you taught me, Papa," he says, as his father pulls him into a hug. After Freddie and Jim leave, Freddie's father tells his daughter to put on the telly.

Queen's 21-minute, six-song set at "Live Aid" in July 1985 was watched by over one and a half billion people around the world and helped revive their popularity in America. In a 2005 poll conducted by the BBC of over 60 music industry players, Queen's "Live Aid" set was voted the world's greatest live rock gig.