It's a bird! It's a plane! It's ... Ben Affleck! Sorry about that, but it's best to go ahead and get that cliché over with right away, don't you think?
More than 25 years before Christopher Reeve donned the red cape, an actor named George Reeve brought joy to countless numbers of children every weekend in the "Adventures of Superman." Despite his success in the series, Reeves committed suicide in June of 1959.
OR DID HE?
This question is the backbone of the film Hollywoodland, which the Virginia Film Society screened last week to kick off its fall season. Shortly after the death of Reeves (Ben Affleck) rocks Tinseltown, Louis Simo (Adrien Brody), a private investigator with questionable morals and a large chip on his shoulder, agrees to look into the case at the behest of the actor's mother. Though initially skeptical, suspicious characters emerge that begin to change his mind -- Reeves's difficult fiancée (Robin Tunney) who may or may not be a gold-digger, his older sugar-mamma girlfriend (Diane Lane) and her husband (Bob Hoskins), a powerful and menacing studio boss. As Simo is drawn deeper into the mystery he comes to realize that what he learns from his investigation could put his own life in danger.
Affleck and Brody share the title of "leading man" in this picture, and they both do so impressively. Brody proved his stellar dramatic abilities years ago with The Pianist, and he's kept his edge. Affleck is successful in his portrayal of Reeves, a charming, talented actor plagued by a string of professional disappointments. Sound familiar? Affleck and Brody are supported by strong performances from virtually every other actor in the film. Lane, Hoskins and Tunney always do quality work. This film is no exception.
Hollywoodland marks the feature film debut of director Allen Coulter (The Sopranos). Working from a script by Paul Bernbaum (Halloweentown), Coulter depicts the 1950s in the style of film noir genre, which was in its heyday. The score by Marcelo Zarvos (Strangers with Candy), which could easily have appeared in any film of the era, guides the audience through the world created by production designer Leslie McDonald, who was on hand at the Virginia Film Society's screening. The somber soundtrack contrasts nicely with the sunny setting.
Though the movie succeeds at many points, it fails at others. There are no transitions between flashbacks and present time, which can be confusing. Brody's character isn't static, but it's unclear in what way he has changed. Throughout the film we're led to believe that Simo will make some earth-shattering realization about Reeves's death, but, ultimately, no conclusions are drawn. After so much build-up it is frustrating, but my pet peeve with the film has to do with its title. Why call a picture Hollywoodland, if its name is never spoken and the iconic sign is never seen?
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