I love the old 50s Superman show and I'm really interested in this story.
From AICN, "Man, oh man. I never would have thought it so – but here it is staring me in the face. I never would have thought this role was suited to Ben Affleck. I mean, where in his life could he have possibly drawn the experience, depth and pathos to play a mediocre actor, who’s downfall is that he is a product of his own success that ultimately has a love life that is far more interesting than his body of work? It’s just so clearly out of character for him. Come on, there’s no pithy, talented best friend. It’s nothing like him. Honest. He really dug deep on this one.
But the man certainly knows how to give his audience what they want. Here he takes a role in a film that involves him playing a character who in Act 1, Scene 1, has already had a bullet put through his head. Methinks Ben is catching on to just how much we like him. Seriously, if there’s an A-list Hollywood Star in desperate need of career resurrection right now, it’s Ben. With his last four theatrically released films being Surviving Christmas, Jersey Girl, Paycheck and Gigli, the guy needs a metric shit ton of cred to prove himself worthy of his success in the minds of many. Will playing a role so close to home pull that off?
Yes. Yes it will. Right from the get go, Affleck hands his haters a nice, hearty, steaming cup of STFU as he comes out swinging with what is easily the single greatest performance of his career. No. Stop laughing. I’m not kidding. He’s actually really, really good. The man becomes George Reeves – both in his off screen persona and as the 50’s era Superman. The cadence of his speech, the poses he strikes for the kids, the sharp humor mixed with a deep sadness – Affleck delivers a complex, layered performance the likes of which few are expecting and unlike anything he’s done before. Affleck acts in this as if his life depended on it, so much so that even his harshest critics are going to have to admit this is at the very least an above average performance.
I’ve gotta say, I almost, almost, almost absolutely love this film. I am so there teetering on the brink, ready to give myself over to it - but one thing keeps me from completely loving it. I’ll get to that later. Because god damnit if there isn’t plenty here to love. First and foremost the characters are amazing. Each and every one. This story refuses to let anyone be pure, pristine and blameless. Like the best of James Ellroy’s novels, everyone here, both hero and menace alike, are smatterings of gray areas. They’re all uniquely human, each character equal parts sleazy, underhanded, selfish, loathsome, fractured, and 100% understandable. No one is a cardboard cut out or a cliché. Even the worst of the worst in this movie possess deep motivations. It’s an actors wet dream and a pure treat for anyone who revels in drinking in character pieces.
And as impressive as Affleck is in this, he’s surrounded by a stellar cast who all turn in perfect, nuanced performances. Adrien Brody, the films actual lead, lives up to his hype once again, playing a flawed as hell headline hungry gumshoe only on the case to make a quick buck, and he does it with all the sordid gusto this film deserves. Bob Hoskins turns on the menace as the almost mob-boss-like studio head. And both Diane Lane and Robin Tunney each give masterful performances as the terribly flawed women in love with Reeves. No one holds back in this and there isn’t a main character in this film who isn’t performing at the very top of their game.
But unlike most character pieces, the film has a riveting storyline with a fantastic structure. Hollywoodland evolves with two different linear timelines, following both the last few years of George Reeve’s life and the investigation of his death by Adrien Brody. The mood is that of a hard-boiled, noir detective story, complete with all of the conventions you’d expect from that kind of tale. It’s a fascinating approach to a true life story that can only be compared to the work of the aforementioned James Ellroy.
The film builds perfectly, with each detail drawing you deeper and deeper into the mystery. As the various theories are laid out and presented, each version of the truth weaves the details of the crime together into coherent possibilities. This is a real life unsolved mystery, and the film knows it and never pretends otherwise. The writing is, at times, razor sharp, with lines that are sometimes funny as hell and other times amazingly revealing without much having to be said. The direction by first time feature helmer (but long time television director) Allen Coulter doesn’t hint at all of being either a first effort, nor that of a TV director. This is experienced pro level direction in look, tone and performance. An incredible first film, Coulter is clearly someone to watch.
All in all, I have to honestly say I loved every single minute of this movie. Every last one.
So what’s wrong? What’s keeping me from absolutely loving this film? The ending. But Massawyrm, you said you loved every minute of this movie. In fact, you said that, like, six sentences ago. Yup. Unfortunately, Hollywoodland ends. Abruptly. So fast you don’t even see it happening. It’s like a blowjob interrupted right at the end by a call from your mother. Right out of the blue, the film wraps up despite feeling like it’s about to go into the final reel. There’s no resolution, at least not the kind you’re expecting. I mean, technically there is, but it sure doesn’t feel like one. There’s no detectible climax whatsoever.
And I both get and respect why the decision to do this was made. Rather than falling into the usual trap of presenting its own theory about what happened, Hollywoodland wants you to figure it out for yourself. It wants to leave the final reel to you. Who did it? Was it really suicide? The movie sure shares a lot of blame, and while it doesn’t tell you for sure who pulled the trigger, it leaves you with a sense that there are actually many responsible, regardless of who actually finished the job.
And once the movie takes you as far as it is willing to go, it ends. And it’s one hell of a sucker punch to the gut. The screen goes black and your jaw drops. What? They didn’t just end it like that did they? In retrospect, I really respect what they’re doing here. But walking out of the theatre in that melancholic daze is never a fun experience. Especially when the movie really feels like a detective film. I mean, who ends a detective film without absolutely telling you who the killer is?
And that’s going to be the kiss of death for a lot of people. Movies live and die in their third act. And often they live or die in the last minute of the film. A great or terrible last minute can utterly validate or raze everything a filmmaker has spent two hours building. While the ending here is a bold choice and has the best of intentions - trying to send you out into the lobby discussing what really happened to George Reeves - a lot of people are going to be put off by the all too sudden fade to black.
Hollywoodland really asks a lot of the audience in its final moments, and if you’re the type of person who hates ambiguity, this is really going to get under your skin. Like I said, I’m almost completely in love with the film. But it’s one of those films that I’m going to have to revisit, prepared for the ending, and let wash over me again to ultimately decide for sure. Everything else in the movie is so damned good that I want to love it, and I know my disappointment stems from my expectations. Either way I have to say – the last moments disappointed me. At least upon my first viewing.
But one thing is absolutely clear. All of the buzz about this being the first Oscar Contender of the year is accurate. You’re gonna hear people bring this up over and over again for a few months until the season fully reveals itself. There’s plenty nomination potential here, and thus far this may be one of the finest made films released in 2006. This is the film that far and away puts Ben Affleck back on the map. Another film like this and his flagging career will be nothing but a memory.
Highly recommended for True Crime fans, anyone eager to see Ben Affleck prove himself, those who enjoy character pieces or those who love a great film and don’t mind an ambiguous, sudden ending. Not recommended for anyone who hates a lack of resolution – this is just gonna piss you right the hell off.
Until next time friends, smoke ‘em if ya got ‘em. I know I will."
