>>REVIEW
HOLLYWOODLAND
STARRING Adrien Brody, Ben Affleck and Diane Lane
DIRECTED BY Allen Coulter
Opens Friday, September 8
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Hollywoodland is a gripping film that from its opening credits, grabs hold of all the senses and doesn’t let go.
Based on the mysterious death of George Reeves, the man who portrayed Superman on the small screen, it’s an examination of reality versus fantasy and ultimately, how we see ourselves.
Following the dubious circumstances surrounding Reeves’ (Ben Affleck) death, a delightfully sleazy private eye (Adrien Brody) seizes what he initially thinks is his shot at big money and fame. In typical bottom-feeder style, he exploits the dead man’s mother, using the omnipresent press to further his ambitions with a series of questionable photo opportunities. Before long, he realizes the case is not as black and white as he thought and he grapples with his own morality and that of the people he’s investigating.
It’s a cynical, blackened version of Hollywood in the ’50s. The hair and makeup may be perfect, but there’s a maelstrom of deceit, greed and lust lurking under all that beauty.
From the dirty pool at a rundown apartment block, to the manicured lawns of Beverly Hills, each scene is rich with reminders of the fragile image being put forth by Hollywood. There is ugliness lurking around every corner.
Corruption runs deep and wide, particularly within the police force, in this murky version of Tinseltown and watching Brody tussle in vain against forces he hasn’t the power to topple is mind-blowing. With his husky voice, soulful blue eyes and tousled hair, he’s effortlessly seductive.
Ben Affleck is the biggest surprise of the film, offering us a professionally frustrated but gifted actor who makes the wrong choices. There’s no shortage of irony when he dons the puffy man of steel suit and we’re reminded why Affleck catapulted to stardom – the man has depth.
As the seasoned wife of all-powerful movie executive Edgar Mannix (Bob Hoskins), Diane Lane is gorgeous yet daunting as a woman accustomed to getting what she wants. She slinks through her scenes like a panther, but at times we see her insecurity creeping up on her and the subtle changes in her expressions are riveting. She’s tough yet vulnerable and impossible to resist – an exquisite femme fatale.
This is film noir at its finest – the women are succulent, the mystery complex and the tension as taut as a big top high wire. |
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