Hollywoodland (2006)

HOLLYWOODLAND is now being shown in NYC at special invitation screenings. Saw last night. Probably the first serious contender for end-of-year awards.

Exceptional in quality of script, cinematography, art direction and, especially, its editing.

The four principal actors -- Adrien Brody, Diane Lane, Bob Hoskins and Ben Affleck -- are doing some of their best work to date. I was most impressed by Ben Affleck who I thought would never again appear in a decent movie. He redeems himself here big time.

The narrative weaves interestingly between present tense (in 1959, shortly after George Reeves' death) and the previous ten years or so. A rather long running time of about 2 hours, 10 minutes flies by.

Fmovies: Let it be known that my rather stingy rating for this film does not stem from any dislike of film noir or neo-noir. But this weak entry in the genre underscores the point that "Chinatown" has a lot to answer for. For every on the spot classic like "LA Confidential" there are a number of turkeys like this that try to match it for quality and interest.

There is no doubt that they have the look right. They have the costumes right and the cars right and the background music right. What the film lacks in any sort of momentum and any sort of sympathy for the characters or what happens to them. In short, after a promising first twenty minutes we are left to wallow in a stagnant uninteresting tale that begs the question of why such a footnote in history deserved such a grand treatment.

The problem might rest with the casting Adrian Brody. He seems to young to play a convincing private eye. The scene where he has been beaten (allusions to Marlowe's "black hole opening up, and he dove right in")and lies wounded talking to his operative on the floor is downright embarrassing. Many will claim that it is his discovering (Like Jules Amthor's view of Marlowe "You are a dirty little man in a dirty little business")that he is really worthless and vile is the point. We should look on in awe that he recognizes this view of himself as some big development. It is not. It is certainly not worth nearly two hours of your time, despite the lush trappings.

"Hollywoodland" has probably brought George Reeves more fame and celebrity than even he ever dreamed of - imagine being the subject of a feature film when you were most famous for being the TV Superman. Had he lived into his seventies, he might have been around for the renaissance of the old shows and stars due to the nostalgia of the maturing baby boomers. But he'd probably rather have it this way.

Reeves started out in small roles such as one of the Tarlton twins in "Gone with the Wind," and before going into the service himself, nabbed some good parts while the big stars were fighting the war. Like many young actors back then, after the war, his career had lost momentum. He ultimately landed the role of Superman and during that time appeared in "From Here to Eternity." The film shows people recognizing him as Superman during the Hollywood premiere of "From Here to Eternity," and as a result of the audience laughter, his role was severely cut. However, many people state that Reeves' role in the final product was no smaller than it was originally.

Unfortunately, in the '50s, once you were associated with a television role, it was a death knell. When Jack Larson (Jimmy Olson in Superman) went into an audition after the series, the director said to the others in the room: "Please don't embarrass this man. He knows I can't cast him," or words to that effect. The actors today are more fortunate as the business has changed. It would be a steep upward climb if Reeves was to shake that Superman image. At the time of his death, he was forming his own production company and planned to go to New York. He also wanted to direct.

"Hollywoodland" stars Ben Affleck, Diane Lane, Adrien Brody, Robin Tunney, Bob Hoskins and Lois Smith. It's the story of slimy detective Louis Simo (Brody) - a man who sells info to Confidential magazine and takes low-rent clients - and his investigation of George Reeves' death, considered a suicide. During a small gathering in his home, Reeves went upstairs to his bedroom and allegedly shot himself. But many people believe he was murdered. Simo plays out different scenarios in his head with different suspects as he searches for evidence and motives. There were several people in Reeves' life who had motives: Reeves' long-time girlfriend Toni Mannix, wife of studio exec Eddie Mannix, a man with an unsavory past known by MGM as "The Fixer"; Mannix himself, who was suspected of being involved in the death of Jean Harlow's husband Paul Bern and later on of faking a car accident in which Toni was killed; and Leonore Lemmon, George's young girlfriend toward the end of his life, who expected to marry George. In the midst of his investigation, Simo has problems with a seedy client as well as difficulties relating with his young son.

This is a beautifully produced film with some marvelous performances, particularly from Diane Lane, Bob Hoskins, and Ben Affleck. Affleck's resemblance to Reeves in some scenes is scary - particularly as Clark Kent! Affleck even had Reeves' vocal rhythm. An excellent performance, and hopefully one that will lead to some better films and roles for him. As Toni, Lane is superb - sexy, tough, and completely possessive of George; Bob Hoskins is great as the bombastic, thug-like Eddie Mannix. Robin Tunney makes a gorgeous Leonore, a cheap low-life. Adrien Brody's Louis Simo is probably more cerebral than most detectives of this type, but he'

Hollywoodland fmovies. Just when I had given up on ever seeing a "Hollywood Star Filled" film along comes a masterful film about the not so famous star of the 1950's television phenomenon, "Superman". I saw the film this evening and Mr. Brody, the director, writer and Ms. Lane were all in attendance but that did not seem to matter much. The film is a real work of artistry. I cannot tell you what a delight is is to go see a film that I have heard nothing about and then sit in the theater totally and thoroughly engaged in a serious film that manages to convince the audience that the art of film making is alive and well. If I had known that Ben Affleck was in the film I would have passed. Its a good thing I did not. He and Diane Lane re-introduce the idea of stardom to film making. They were fantastic. The script was fantastic, the period accuracy enthralling and the long forgotten story riveting. Hollywoodland should prove to be the next "Capote". Congratulations! A 21st Century Noir treat.

I wasn't sure what to expect going into this film. I had seen the great trailer several times and thankfully the film more than lives up to the quality of the trailers. The film is an exploration of fame and what that might cost. It is also the story of three people... Louis Simo (Adrien Brody), Toni Mannix (Diane Lane), and George Reeves (Ben Affleck). When Reeves body is found, Simo looks into the apparent suicide and starts to uncover very disturbing things including the torrid affair Reeves was having with Toni Mannix (Diane Lane).

The film is superbly acted. Everyone here is at the top of their game. Affleck and Brody have never been better, and Bob Hoskins is very intimidating as Ed Mannix (Diane Lane's husband). But it is Diane Lane who gives the standout performance here as a woman who starts off as a confident seducer and ends as a volatile and distraught shell. It is an amazing performance that is both sexy and heart-wrenching. Affleck is also touching and sympathetic as Reeves.

The cinematography is amazing and the story is intelligently written and told. It manages to be both fascinating, interesting and entertaining. The films 126 minutes fly by and the film is very engrossing. Top that with some great performances including an Oscar worthy turn by Diane Lane, and you have one of the best films of 2006 so far. 10/10.

Just came from a screening of this film thanks to the Palm Springs International Film Society, and it was nearly perfect...like films used to be before pop culture took over. Adrien Brody was his best since "The Pianist", and Ben Affleck was his best since...well, his best, period. Diane Lane disappeared into her role and Bob Hoskins was his usual, brilliant self. The supporting cast of Molly Parker, Joe Spano and Robin Tunney were (no pun intended) "picture perfect". The parallel stories of Brody's private investigator and George Reeves before, during and after "Superman", and the mystery of whether Reeves was a suicide or a homicide (and, if the latter, who done it?) were wonderfully brought to life. This film made me want to know more,and raised the question: just where do they find all those primo 50's and 60's vintage cars? Go see this one, and take a friend...you'll be the recommendation hero.