Holly
09-13-2006, 12:25 PM
Sept. 8
By JAY BOBBIN
It is one of the show-business mysteries that has lingered for years: How did TV's first “Superman” actually die?
The death of George Reeves -- previously best-known as one of the Tarleton brothers in the all-time classic ”Gone With the Wind” -- was ruled a suicide, but some of his social connections gave rise to the notion that another cause was responsible. That possibility is explored and also mirrored through another major character in “Hollywoodland,” an extremely well-cast drama that parallels the lives of its two main figures.
As played with appropriate reserve by Ben Affleck, Reeves is one of them, a man who didn't quite know how to handle his fame with youngsters. That may have manifested itself in the dangerous relationships he toyed with ... particularly his involvement with the wife (Diane Lane) of a movie-studio titan (Bob Hoskins, snarling his way through the part enjoyably), an executive whose own connections may not have been entirely above board, thus fueling suspicions of how Reeves might have met his demise.
The other major character in “Hollywoodland” is the detective so driven by devastation over the news of Reeves' passing, he launches his own investigation after police have made their ruling. Adrien Brody portrays the part with a sad-sack quality that fits perfectly, given the sleuth's own personal problems (wife gone, son estranged, etc.). That aspect reminded me strongly and pleasantly of “Quiz Show,” in which Rob Morrow plays a similar fly in the ointment as he harangues various resentful people about the TV-game scandals of the late 1950s.
Some full disclosure here: “Hollywoodland” was written by Paul Bernbaum, who was a college classmate of mine. As a television buff myself, I hand it to anyone who feels compelled to explore any aspect of the medium's history so fully, but the catch is also to make it involving dramatically for those who might not have the same background. Bernbaum and director Allen Coulter, a veteran of HBO series including “The Sopranos” and “Sex and the City,” manage that with no small help from a skilled cadre of actors.
Affleck deserves particular mention for his sympathetic and knowing depiction of Reeves. For as many jokes as he has suffered over a string of movies that weren't quite up to snuff, he redeems himself by playing someone whose plight he probably understands all too well, a talent who wasn't taken seriously by many people. The cast and crew are supported by fine production design that evokes the '50s atmosphere superbly.
It's no secret that Hollywood has long had its dark side. “Hollywoodland” explores a part of that in a way that definitely bites the hand that feeds it, all to its credit.
(Rated R)
By JAY BOBBIN
It is one of the show-business mysteries that has lingered for years: How did TV's first “Superman” actually die?
The death of George Reeves -- previously best-known as one of the Tarleton brothers in the all-time classic ”Gone With the Wind” -- was ruled a suicide, but some of his social connections gave rise to the notion that another cause was responsible. That possibility is explored and also mirrored through another major character in “Hollywoodland,” an extremely well-cast drama that parallels the lives of its two main figures.
As played with appropriate reserve by Ben Affleck, Reeves is one of them, a man who didn't quite know how to handle his fame with youngsters. That may have manifested itself in the dangerous relationships he toyed with ... particularly his involvement with the wife (Diane Lane) of a movie-studio titan (Bob Hoskins, snarling his way through the part enjoyably), an executive whose own connections may not have been entirely above board, thus fueling suspicions of how Reeves might have met his demise.
The other major character in “Hollywoodland” is the detective so driven by devastation over the news of Reeves' passing, he launches his own investigation after police have made their ruling. Adrien Brody portrays the part with a sad-sack quality that fits perfectly, given the sleuth's own personal problems (wife gone, son estranged, etc.). That aspect reminded me strongly and pleasantly of “Quiz Show,” in which Rob Morrow plays a similar fly in the ointment as he harangues various resentful people about the TV-game scandals of the late 1950s.
Some full disclosure here: “Hollywoodland” was written by Paul Bernbaum, who was a college classmate of mine. As a television buff myself, I hand it to anyone who feels compelled to explore any aspect of the medium's history so fully, but the catch is also to make it involving dramatically for those who might not have the same background. Bernbaum and director Allen Coulter, a veteran of HBO series including “The Sopranos” and “Sex and the City,” manage that with no small help from a skilled cadre of actors.
Affleck deserves particular mention for his sympathetic and knowing depiction of Reeves. For as many jokes as he has suffered over a string of movies that weren't quite up to snuff, he redeems himself by playing someone whose plight he probably understands all too well, a talent who wasn't taken seriously by many people. The cast and crew are supported by fine production design that evokes the '50s atmosphere superbly.
It's no secret that Hollywood has long had its dark side. “Hollywoodland” explores a part of that in a way that definitely bites the hand that feeds it, all to its credit.
(Rated R)