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Hollywoodland Reviewed By Erik Childress Posted 09/09/06 08:19:56

"Can’t Anyone Make A Worthy Superman Film This Year?" (Pretty Bad)

When Paul Schrader set out to tell the troubled life and unsolved murder of Hogan’s Heroes’ Bob Crane in Auto Focus, he provided a subtext of a rising and inevitably eclipsing video culture within the confines of a traditional biopic. The events surrounding the apparent suicide of Superman’s George Reeves is forked with avenues at which to explore, not the least of which is the suspicion that TV’s Man of Steel fell victim to an enemy other than himself. And still, director Allen Coulter and screenwriter Paul Bernbaum turn that mystery into the least interesting (yet most pronounced) angle in a film which recognizes neither its ironies nor the multiplicity of thematic range which could have made this a classic Hollywood tale.On June 16, 1959, Reeves (Ben Affleck) was found dead in his bedroom, presumed to be a self-inflicted gunshot wound to the head. Police were quick to rule the case as such, but Reeves’ mother (Lois Smith) wasn’t believing it. Private investigator Louis Simo (Adrien Brody) crosses paths with her and perhaps influenced by his estranged son’s dismay over Superman taking a bullet from a Nazi pistol, he decides to investigate further.In flashbacks we see Reeves as a blip on the Hollywood map, showing up at restaurants to stargaze and even worm his way into the occasional press photo. One such night he charms Toni Mannix (Diane Lane), a woman his senior still beautiful enough to blow away whomever was hired to portray Rita Hayworth. The next morning he discovers the Mannix surname actually belongs to MGM studio boss, Eddie Mannix (Bob Hoskins), who shares such an open relationship that they can double with their own side action. Could the evolvement of this courtship been enough to spark murder? Was Reeves’ fiancee, aspiring actress Leonore Lemmon (Robin Tunney) somehow responsible waiting 45 minutes to call the police? Or was it a fledgling career that led detectives to the right conclusion? The truth is the film gives us little reason to care any which way.Telling parallel stories as the framework for a real life murder mystery should result in something mildly compelling at worst. Only the filmmakers can’t see the evidence right in front of them which would make it so. Maybe all the subtext was lost with the original title – Truth, Justice and the American Way. Break it down and it should have been easy as apple pie to highlight why a lack of focus on one particular story was unnecessary. (TRUTH) What happened that June evening? Through a series of Simo-induced Rashomon-ish flashbacks, there’s various speculation on whom other than Reeves may have been responsible for the bullet holes in the floor and the blood splattered all over the wall. As an actual mystery, however, its hardly worthy of anyone who has read a Nancy Drew novel. So we’re left with this arid gumshoe concoction whose sole motivation (aside from the obvious publicity) is to prove to his son that his hero was murdered. Would that really provide comfort to a child though? After all, he’s supposed to be faster than what’s coming out the end of that barrel. And once again, we have another element of truth vs. fiction leapt over in a single bound at a promotional stunt show where Reeves (in a real-life incident) was approached by a child with a loaded pistol asking to shoot him. It’s a compelling moment that speaks specifically to this aspect of the story, but Coulter cuts away from it (as the end of a Simo dream) before reaching its denoument.(JUSTICE) Superman’s brand was swift (and on TV – less fatal.) But life around the magic factory that created him was crueler and less satisfactory as the investigating officers rule it a suicide before ever leaving the bedroom. One cop (Dash Mihok) eventually expresses doubt, but its as much of an afterthought as Simo’s efforts. Simo, in essence, should be Reeves’ Superman – the one man out there trying to preserve not just his memory but one of the foundations we still believe our country was founded under. The American Way, in reality, does revolve around the almighty dollar and Simo’s ethical crusader runs on the same fuel that studio execs like Mr. Mannix try to hoard and protect. Bernbaum’s script doesn’t have the fuel or even the spark to connect the two justice seekers in their own parallel worlds where legends exist and facts don’t.By contrast, the backstory involving Reeves becomes more interesting – even if presented alone would be little more than just another bland biopic. The present day material with Brody is so lackluster though that Coulter & Bernbaum would have been better off just concentrating on Reeves’ life. Maybe then his alter-ego’s mantra could have come into better focus, even without the glasses. Affleck does some nice work as Reeves (and Coulter pulls off one great iconic image of Reeves in the suit walking off the set) so it’s sad to watch the motivating factors for his later years shortchanged by the obsession over who pulled the trigger. The film plays up Reeves’ role in From Here To Eternity as being a test-screening disaster when preview audiences vocally recognized the actor’s signature role and, as a result, had most of his scenes cut. (An urban legend that the film’s director, Fred Zinnemann, denied handedly.) Here is a man who during WWII enlisted in the air force, then ended up making propaganda training films for them. A man who, unwittedly, became a role model to millions of kids despite his non-Kal-El vices of smoking, drinking and adultery. A man who wanted to be Clark Gable and ended up barely being George Reeves. It doesn’t take x-ray vision to see the movie in all of this, but Hollywoodland more closely resembles a poorly made tabloid instead of a film with just an identity problem.
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