HOLLYWOODLAND
When I first saw the trailer for HOLLYWOODLAND attached to DEVIL WEARS PRADA, I saw something that promised to be one of the most solidly structure film noir mysteries one could expect. The trailer was exciting, forcibly paced, featured interesting performances, had a nice visual style, and boasted a wonderful cast. Apparently, all credit for that belongs to the editor of the film's trailer, because none of those qualities are apparent in the full-length version of HOLLYWOODLAND.
Exploring the theories behind TV's Superman George Reeves (played by a ridiculous over-praised Ben Affleck), the movie aims to cover so much ground that it never becomes a cohesive piece. As an L.A. investigator (Adrien Brody) gains a renewed interest in the suspicious suicide of Mr. Reeves, he becomes fascinated by the many different theories behind the true cause of the mans death.
As the investigator, named Louis Simo, begins to realize more about Reeves' sordid past more light is shed onto various theories. One focuses on his long lasting love affair with Toni Mannix (played by an underused Diane Lane), the wife of studio head Eddie Mannix (played a barely registering Bob Hoskins). The other theory explores his late-in-life attachment to Leonore Lemmon (Robin Tunney), a Los Angeles party girl. The final theory explores George Reeves' deep-rooted depression and discomfort with being type cast. Believe me, the theories don't blend well to make one movie.
Unfortunately, it seems that neither the films director Allen Coulter, nor the films screenwriter Paul Bernbaum never decided on a distinct direction the film could take. HOLLYWOODLAND simply goes through the motions of explaining each theory without ever gaining the audience's emotional attachment because the film never leans towards one explanation. By not choosing to proclaim one theory as the definitive truth, the film seems to be on a path to no resolution.
If the filmmakers were afraid to proclaim one theory as reality for fear that the public might not realize it's a mystery still unsolved, they should have chosen a more complex theme. Personally, I believe the film could have been an interesting study of why people refuse to accept that even heroes can fall. Perhaps it could have explored the frustration Louis Simo might feel by having his investigation constantly muddled by personal feelings and a nationwide association of Reeves with the unstoppable. With a framework of exploring the worlds reluctance to admit to a "national heroes" downfall, perhaps HOLLYWOODLAND could have been a fascinating study of American ideals and confidentiality at the time.
As is, HOLLYWOODLAND simply is not ambitious enough. Despite some solid costumes, sets, and camera-work... the film really disappoints. Though heavy praise has been laid on Ben Affleck for his "return to form", the performance really isn't anything to write home about. Affleck does little aside from resting on shmarmy charm and amateur emoting in capturing this dark figure. Perhaps the fact that he has earned so much praise makes me like the performance even less, but unfortunately Affleck as an actor is exactly like the movie he stars in... all pretty surface, no substance.
The rest of the cast does little to improve their blandly written roles. Brody, Lane and Hoskins can usually be expected to be great in everything they do, here they are just okay. It can't help that their characters are polluted with cliché dialogue, but not one of them manages to rise above.
HOLLYWOODLAND is a major disappointment when you consider it's potential and the genuine thrill the previews provided. It seems like everyone involved simply didn't deliver what was needed, and as a result the whole product feels hollow. When expectations are high, the disappointment can be much stronger... and that's the case with HOLLYWOODLAND.
... D- ...
When I first saw the trailer for HOLLYWOODLAND attached to DEVIL WEARS PRADA, I saw something that promised to be one of the most solidly structure film noir mysteries one could expect. The trailer was exciting, forcibly paced, featured interesting performances, had a nice visual style, and boasted a wonderful cast. Apparently, all credit for that belongs to the editor of the film's trailer, because none of those qualities are apparent in the full-length version of HOLLYWOODLAND.
Exploring the theories behind TV's Superman George Reeves (played by a ridiculous over-praised Ben Affleck), the movie aims to cover so much ground that it never becomes a cohesive piece. As an L.A. investigator (Adrien Brody) gains a renewed interest in the suspicious suicide of Mr. Reeves, he becomes fascinated by the many different theories behind the true cause of the mans death.
As the investigator, named Louis Simo, begins to realize more about Reeves' sordid past more light is shed onto various theories. One focuses on his long lasting love affair with Toni Mannix (played by an underused Diane Lane), the wife of studio head Eddie Mannix (played a barely registering Bob Hoskins). The other theory explores his late-in-life attachment to Leonore Lemmon (Robin Tunney), a Los Angeles party girl. The final theory explores George Reeves' deep-rooted depression and discomfort with being type cast. Believe me, the theories don't blend well to make one movie.
Unfortunately, it seems that neither the films director Allen Coulter, nor the films screenwriter Paul Bernbaum never decided on a distinct direction the film could take. HOLLYWOODLAND simply goes through the motions of explaining each theory without ever gaining the audience's emotional attachment because the film never leans towards one explanation. By not choosing to proclaim one theory as the definitive truth, the film seems to be on a path to no resolution.
If the filmmakers were afraid to proclaim one theory as reality for fear that the public might not realize it's a mystery still unsolved, they should have chosen a more complex theme. Personally, I believe the film could have been an interesting study of why people refuse to accept that even heroes can fall. Perhaps it could have explored the frustration Louis Simo might feel by having his investigation constantly muddled by personal feelings and a nationwide association of Reeves with the unstoppable. With a framework of exploring the worlds reluctance to admit to a "national heroes" downfall, perhaps HOLLYWOODLAND could have been a fascinating study of American ideals and confidentiality at the time.
As is, HOLLYWOODLAND simply is not ambitious enough. Despite some solid costumes, sets, and camera-work... the film really disappoints. Though heavy praise has been laid on Ben Affleck for his "return to form", the performance really isn't anything to write home about. Affleck does little aside from resting on shmarmy charm and amateur emoting in capturing this dark figure. Perhaps the fact that he has earned so much praise makes me like the performance even less, but unfortunately Affleck as an actor is exactly like the movie he stars in... all pretty surface, no substance.
The rest of the cast does little to improve their blandly written roles. Brody, Lane and Hoskins can usually be expected to be great in everything they do, here they are just okay. It can't help that their characters are polluted with cliché dialogue, but not one of them manages to rise above.
HOLLYWOODLAND is a major disappointment when you consider it's potential and the genuine thrill the previews provided. It seems like everyone involved simply didn't deliver what was needed, and as a result the whole product feels hollow. When expectations are high, the disappointment can be much stronger... and that's the case with HOLLYWOODLAND.
... D- ...