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The final moments in the life of actor George Reeves (renowned for playing Superman/Clark Kent in the '50s TV show The Adventures of Superman) remains one of the most enduring mysteries surrounding a celebrity death in Hollywood history. 2006's Hollywoodland is a fictionalised account of the investigation of Reeves' death; employing a combination of apocryphal stories and confirmed events to construct the central narrative. The three most probable theories are explored here: did Reeves commit suicide out of despondency due to his lacklustre career (as the official record indicates), was he killed by a former lover, or was he perhaps snuffed out by a studio enforcer under orders from a jealous movie bigwig? Instead of choosing a theory and making it their pet, director Allen Coulter and writer Paul Bernbaum present the viewer with a Rashômon-style multiplicity of possibilities; leaving viewers to draw their own conclusions. It's balanced in its presentation of evidence for and against suicide, and - rather than being a biopic of Reeves - the protagonist is a private investigator who attacks the mystery.
Hollywoodland is split into two narratives occurring across two different timelines.
The first - and the most prominent - narrative commences on the night George Reeves (Affleck) is found dead. Although ruled as a suicide, the crime scene at Reeves' home leaves the official story open for doubt. The late actor's grieving mother (Smith) is unwilling to let the questionable circumstances surrounding her son's death go unaddressed, and hires hard-boiled private eye Louis Simo (Brody) to dig deeper into the mystery. At first Louis investigates at the behest of Reeves' mother, but when the sordid facts of the case begin to consume him, he investigates out of his own curiosity. In addition to forensic evidence suggesting foul play, Louis finds no shortage of suspects who might have wanted Reeves dead.
The second story chronicles the Hollywood career of George Reeves, beginning in the late 1940s. After struggling to make the big time, Reeves agrees to take the role of Superman in TV's The Adventures of Superman. Despite starring in the immensely popular television show, the actor is not a happy man - he isn't being paid well, he becomes stereotyped, and he's unable to find other work.
It's critical to note that Hollywoodland is mostly fiction. While Reeves' mother did in fact hire someone to investigate the death, and the investigator bore a number of traits used in the character of Louis Simo (who is otherwise the screenwriter's creation), the film should be perceived as a fictionalised account of real-life events designed to uncover certain truths. However, there are problems with this approach, mainly with subplots involving Simo which hamper the film's momentum - one a short, unnecessary subplot about a cuckolded client of Simo's, and the other a far more distracting subplot depicting Simo's domestic problems. These seem designed to provide the character with depth, but they're tragically drab when contrasted with the intriguing murder mystery at the heart of the movie.
Indeed, the portions of the film concerning Reeves' life - his rise, fall and the alleged cover-up of his "murder" - is absolutely engrossing cinema. Director Allen Coulter (a television veteran but a motion picture newcomer) successfully recreated Los Angeles during the middle of the 20th Century, and his portrayal of the Hollywood film industry, with its fleeting glamour and excessive heartache, rings true. Hollywoodland is also a handsomely-produced period piece with a moody atmosphere. Coulter's work indicates he's a filmmaker to keep an eye on, with slow and deliberate pacing, and a terrific handling of the story that never ceases to intrigue or engage. Indeed, virtually every frame is bursting with self-assuredness. However, the film misfires in a vital area - a viewer never gets an incisive look into Reeves' soul and psyche. It'd be easy to say that there wasn't much to him, but on the contrary, the film actually omits his complexities. His committed charity work is absent from the narrative, and, more importantly, the movie neglects the fact that the actor was about to begin a new Superman series when he died - surely this would lend further credence to the contention that he was murdered?
Hollywoodland is filled with first-rate acting. Somewhat surprisingly, the highlight by far is Ben Affleck who delivers an astonishingly nuanced, self-effacing performance as George Reeves. There's no faulting Affleck's acting here, but one could be forgiven for questioning whether he's right for the part since, even in full Superman costume, he bears no resemblance to Reeves. Those familiar with Reeves' visage may need to elevate their suspension of disbelief, but the strength of Affleck's performance should win over the doubters. After all, Affleck nails the aspect that counts - he captures Reeves' smug showboating, desperate need for attention, and sly charm. Meanwhile Adrien Brody is thoroughly engaging and likable as Louis Simo, and Diane Lane delivers an outstanding performance as an aging trophy wife who manages to be both alluring and pathetic. Robin Tunney, who featured in the first season of the hit show Prison Break, also submits terrific work.
By avoiding the usual pitfalls of other straight-up biopics, and by turning Reeves' story into a multi-layered murder mystery, an altogether unique product is achieved. Some may watch Hollywoodland expecting to glean conclusive evidence as to what happened to George Reeves, but - as said before - it leaves you to draw your own conclusions. Regardless of what you conclude, if you conclude anything at all, the film's key strength lies in its ability to tell a story and raise important truths about the nature of fame, fortune, love and deception. That said, the movie is not quite as accomplished as it could've been, and Coulter and Bernbaum could've at least had Simo present his (their) best guess. Without it, the movie feels a bit gutless.
7.6/10
