Prior to the days of scrappy, uncharismatic leading men who approach the film industry with a blas, seen-it-all nonchalance, in order to succeed in Hollywood one had to be a genuine movie star. This required, among other things, enigmatic looks, a suave sensuality, and a coveted contract from one of the major movie studios. Although there were the Clark Gables and Rita Hayworths, there were hundreds more actors who walked the fine line between anonymity and unfulfilling minor celebrity. "Hollywoodland" is a stunning example of one such man and the unexplained details of his suspicious death.
The movie explores the rise, fall and death of television's original Superman, George Reeves, who was found dead in his bedroom from a gunshot wound in 1959. The circumstances surrounding his death remain a hazy, mysterious story that began with multiple holes in the original police report and ended with multiple theories about his death, including murder exacted by an angry studio executive.
Though the true-crime aspect of the film is portrayed admirably, the real marvel is in the irony of watching terrific actors play people who are actors in one form or another. To each character the world is his stage and the truth is what he makes of it, but the audience quickly realizes that each man and woman is a mere player exacting a role in a greater tragic tale. Each character begins with some type of facade, a carefully practiced image of what they would like to be. However, by the end of the film, each is so worn down by the game of make believe that they don't have the energy to sustain their true identities.
Adrien Brody stars as Louis Simo, a private investigator who is hired by Reeves' mother to probe into the case, which seems to be ruled a suicide all too quickly. Simo's only interest is in gaining money and notoriety, and he knows the ropes well. Walking with an easy swagger and chameleon-like personality, he can hustle information out of anyone, playing a role as well as any actor could, and Brody flawlessly plays against the big fish. What Simo does not count on, however, is being sucked into the case so deeply that it nearly destroys every relationship he has, including the fragile bond with his son, who is deeply upset by the death of his television hero.
Ben Affleck, who arguably gives his best performance to date, plays the role of George Reeves admirably. Affleck recently received an acting award from the Venice Film Festival for his performance, and one can easily see what made him so compelling. He is the picture of a golden age movie star with his broad shoulders, self contentment, a Sinatra-esque smirk, amicable humor and the gift of gab. In short, he never falls short in portraying the television star and the man.
Despite Reeves' talents, however, he is never able to shake the truth of his situation. The liquor begins to age him while Hollywood breaks him down, making him consider professional wrestling as a way to keep publicity. He is trapped inside of his red-suited television role and trapped by his career failures. At the premier of "From Here To Eternity," when he appears on the screen, snickers about Superman fill the theater. Later, he argues with his mistress about her failure to help his with his career. "You liked me in that little red suit!" he screams at her.
"But that was all you were good for," she replies without a hint of doubt.
Diane Lane delivers once again as Toni Mannix, Reeves' older mistress. Aware of her sexuality despite her increasing age, Mannix sweeps across party after party, holding reign over each event. Her desperation is very apparent in each quick glance or glimmer in the eye. In Reeves she finds the intimacy that she and her snarling studio executive husband (Bob Hoskins) lack, but for her he is also a play toy, affectionately referring to him as "her boy." She holds reign over him as well, never dropping the aristocratic tone of voice, nor her upturned nose. Her pitbull-ish spouse can protect her, but only Reeves is able to fulfill her. Despite her games, he is still her weakness, her desperate need for his love and attention overshadowing any attempt to play a completely dominant role over him.
The film is told through both flashbacks and an investigation set around the time of Reeves's death. The transitions between past and present are smooth and unblemished, easily taking us between Simo's confusion and Reeves's frustration without any loss of comprehension. By the time Simo can step back and look at where he is, his droopy-eyed but hardened expression is the same as that of Reeves just hours before his death. At times, the two roles seem almost blurred as the men are perfectly mirrored with their emotions tied by this singular event.
The only disappointing aspect of the film is that despite the multitude of theories, the film never points to one being the most likely. However, in a film where truth is rearranged like music, possibility becomes more important than any concrete conclusion. The truth about Reeves' death will never be known, but the motivations for his tragic demise are made crystal clear.
