Hollywoodland

Dir: Allen Coulter

2006

****

Paul Bernbaum’s script based on the mysterious death of Superman actor George Reeves was originally titled ‘Truth, Justice and the American Way’ but after DC refused permission to use their tagline, the production changed the name to Hollywoodland, which I believe was a far more suitable title. The film isn’t really anything about Superman but it is a tale about Hollywood legend that takes typical Hollywood liberties regarding historical fact and hearsay. Half of the characters are fictional, some are a combination of real people and much of what happens is based on rumor and an imagining of what we just don’t know. I would best describe it as classic pulp fiction but with a few real characters. That said, the attention to detail is often very good, with the styles of the day well represented and the performances of a high standard. Many of the scenes are recreated from old stories many of the actors used to tell and Superman fans will be happy to see a few fan-favorite episodes featured but it is strange how they get many of the dates wrong, especially when they when to great effort and expense to hire the same rare and distinct car that Reeves used to drive. The story begins in June 1959 with fictional character Louis Simo (Adrien Brody), a Los Angeles private investigator more interested in generating an income than in devotion to his clients. We first find him spying on the wife of a man named Chester Sinclair to find if she is cheating. On a visit to his own ex-wife Laurie, Simo learns that his son is upset over the recent death of actor George Reeves, who played Superman on television. Reeves was found dead inside his Beverly Hills home with a gunshot wound to the head, which police ruled a suicide. Simo learns from a former police colleague that the Reeves suicide has aspects that the cops don't want to touch. Sensing the potential for making a name for himself, Simo begins investigating and notes several apparent conflicts with the official version of Reeves's death. He also bickers with Laurie over his failures as a father, particularly now when his son seems so troubled. Years previously, in 1951, Reeves (Ben Affleck) is a charming man whose acting career has stalled since appearing in Gone with the Wind. He catches the eye of a beautiful woman and they end the night in each other's arms. In the morning, a newspaper photo reveals to Reeves that the woman is Toni Mannix (Diane Lane), the wife of Eddie Mannix (Bob Hoskins), the general manager of Metro-Goldwyn-Mayer. Frightened that an affair with a studio boss's wife will destroy what is left of his career, Reeves is angry that Toni did not tell him. She claims to have an open relationship with Mannix and tells him not to worry. The much wealthier Toni begins to buy Reeves expensive gifts such as a house, a car and jewelry. Reeves lands the starring role in the television series Adventures of Superman, based on the comic book hero. The role makes Reeves famous and gives him a steady income, but he longs for more "serious" work and is uncomfortable with the public's stereotype of him as Superman, resulting in sniggers when he is seen on screen in the war film From Here to Eternity. As the years pass, Reeves becomes bitter at being a kept man and at Toni for not using her clout to help his career. He barbecues his Superman costume to "celebrate" the program's cancellation in 1958. He also meets a young woman in New York City, actress Leonore Lemmon (Robin Tunney), and leaves Toni for her. Toni is broken hearted and furious and seethes at her "mistreatment" by Reeves. Simo initially suspects that Leonore might have accidentally shot Reeves during an argument and imagines how the scenario might have played out. Simo is beaten at his home by thugs, apparently working for Mannix, who are trying to scare him off the case. This and other evidence leads Simo to suspect that Mannix was the one who had Reeves murdered. Simo has a vision of how that killing would have occurred. Sinclair murders his wife, having grown impatient waiting for Simo's report. A guilt-plagued Simo gets drunk, then visits his son's school, where his inebriation scares the boy. Simo visits Reeves' manager, Arthur Weissman, who has a home movie that Reeves shot to promote some wrestling work. Reeves' sadness and disappointment with his life is on display in the footage. Simo's final imagined variation on Reeves' death concludes with the actor shooting himself. This is the most vivid of the three scenarios, and Simo imagines himself in the upstairs bedroom watching the suicide. Each of the scenes imagined by Simo begins with Reeves playing guitar and singing "Aquellos Ojos Verdes (Green Eyes)" in Spanish for his house guests. After each of the three imagined renditions, Reeves says goodnight to his guests, then retires to his bedroom upstairs, just before the gunshot. Reeves' quest for success and Simo's realization of parallels to his own existence cause the detective to re-evaluate his life. Simo watches another home movie, this one of himself and Laurie and their son in happier days. He goes to Laurie's house wearing a suit and tie, greeting his son hopefully. While I enjoyed the film, I also found Simo’s character a little distracting from the main story. He is essentially our protagonist and I wonder whether it would have been better if he was more of a Phillip Marlow sort of character without the family story. Also, as brilliant as I think Ben Affleck is, I can’t help but think it would have been better if they had waited until he was the same age as Reeves when he died. I also think the script treads too carefully, as after reading Sam Kashner and Nancy Schoenberger’s 1996 book Hollywood Kryptonite, I’m fairly convinced that Eddie Mannix - rumored to have mafia ties - ordered Reeves killed. There was also the Lozzi claim. Toni Mannix suffered from Alzheimer's disease for years and died in 1983. In 1999, Los Angeles publicist Edward Lozzi claimed that Toni Mannix had confessed to a Catholic priest in Lozzi's presence that she was responsible for having Reeves killed. Friends of both Reeve and Mannix disagreed but not one of them was convinced by the verdict of suicide – the conclusion Hollywoodland ends with. Still, the team were lucky they were allowed to make reference to Superman at all, as DC was banking on a success with Superman Returns that was released soon after and they didn’t want any negative interference. They wouldn’t allow the famous ‘S’ to be shown in any promotional shots but did allow it in the finished film. Affleck looked good in the suit too and I wonder whether he would have made a good Superman. I like his Batman though, and so far he is the only actor to have worn both suits in separate feature films. Overall I think Hollywoodland has firm foundations but I would have liked a little more mystery and a little more speculation and less emotional output from fictional characters – although Adrien Brody is very good.