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HOLLYWOODLAND Send This Review to a Friend
There’s an inherent problem with “Hollywoodland,” directed by Allen Coulter from a screenplay by Paul Bernbaum, even though the subject matter and some of the acting makes the film mostly absorbing as the mystery builds concerning the shooting death of George Reeves, who achieved fame as TV’s Superman in the 1950s. The truth may never be known and therefore the film can’t stake out a firm position on what really happened. After all of the exploration, the ending is unsatisfying.
But Ben Affleck is effective as Reeves, dissatisfied because he couldn’t shed the Superman image and be taken seriously as the broader actor he thought he was, and endlessly fascinating Diane Lane, who is alternately sassy or depressed as Reeves’ lover, Toni, who was married to Edgar Mannix, an MGM honcho with a tough reputation, played sinisterly by Bob Hoksins. Adrien Brody is also effective as the private eye Louis Simo, who tries to make a name by uncovering the truth and becomes convinced that Reeves was murdered and didn’t commit suicide as first stated. Lois Smith has a strong turn as Reeves’ mother, who hires Simo.
The various possibilities are played out in Simo’s thoughts as the drama flips back and forth between Reeves’ life and the post-death inquiry. Did Mannix have something to do with the death in relation to the affair Reeves had with Toni and then made her miserable by dumping her for a younger woman, aspiring actress Leonore Lemmon (Robin Tunney). Mannix is portrayed as protective of his wife, but also having an affair in what is depicted as a marital understanding? Or, despite all of the speculation, did Reeves really commit suicide?
As Simo digs, he is assaulted by men supposed to be doing the bidding of Mannix in line with efforts to squelch anything that could affect the studio adversely. Real life MGM publicist Howard Strickling, who suavely tries to keep the lid on, is portrayed convincingly by Joe Spano.
Too much time is devoted to Simo’s domestic problems, apparently in order in order to deepen his motivations. But the creation of the atmosphere of 1950s Hollywood is impressive, and we get the ambiance of the social whirl, the romantic entanglements and the behind scenes scandals and manipulations. Yet without more of a stand, “Hollywoodland” seems like spinning wheels. That’s better than a forced conclusion. But it doesn’t keep the result from leaving with the impression that all has come to very little. A Focus Features release.
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