Al Collins does a terrific series of books about a detective named Nate Heller. Sharing his memoirs of his greatest cases with us, Heller was an active participant in such famous cases as the kidnapping of the Lindbergh baby. Although he does nothing to change the historical facts or outcomes, Heller’s tales invariably provide solid resolutions and eye-opening perspectives.
Kathleen and I came out of “Hollywoodland” and all I could think was that the script desperately needed Al Collins to come in and do a rewrite. We witness two storylines: The struggle of George Reeves with his perception that his career had stalled while forces that could him harm gather round him, and a noirish detective, Louis Simo, hired to investigate. The acting is brilliant all around, and the direction is solid, but the vagueness of the script betrays all participants. An attempt to say something profound about the price of fame nibbles around the edges of the story, but really, it’s no point that hasn’t been made elsewhere and better. I don’t think it’s a spoiler to say that there’s no resolution: Not to the mystery of who killed Reeves and not to the resolution to Simo’s emotional journey.
The observation could be made that, since we don’t know what happened in real life, the movie is likewise hamstrung. Except, as noted, Al Collins tackles this kind of challenge all the time and routinely produces stories that hew to the truth while simultaneously coming up with satisfying conclusions all around. That’s because he takes a solid point of view, something very much lacking in the wishy-washy script of “Hollywoodland.”
I would love to see Al Collins tackle the Reeves murder (the book “Hollywood Kryptonite,” along with conversations I’ve had with Noel Neill, convinced me it wasn’t suicide). People might claim that “Hollywoodland” covered the same material; but at least Collins would cover it well.
PAD
• 
I enjoyed Hollywoodland quite a bit. Brody really stood out in this flick and Lane and Haskins were also at the top of their game. I was initially only given pause by Affleck’s role in the film, since I have been left cool to the point of distraction with most of his work. Dispite some positive buzz, even Oscar rumblings, I found myself having the same response to his portrayal of George Reeves. Though it wasn’t horrific, he appeared to smirk and pout his way through another movie…. though he did add a bit of accent into the mix.
Overall, a very engaging movie. I’m a sucker for any story that can transport me back to an earlier time and keep me there for a few hours.
Interestingly, there IS a Heller version of another famous murder now in theaters, the Black Dahlia. And reading the genreally poor reviews of DePalma’s film, I kept wondering what might have happened if the film adapted the Heller version instead of the James Ellroy version. Odds are it would still stink – DePalma is not what he used to be – but as I think MAC is a much better writer than the baroque Ellroy, who knows?
Heck, I would be happy to see any Heller novel adapted. I’m sorta surprised that after Road to Perdition, none have been optioned.
If you think it’s murder, read last week’s update to this Straight Dope article, and it may change your mind back again:
http://www.straightdope.com/mailbag/mreeves.html
I read recently that Noel Neil now believes it was a suicide. I can’t remember the reason for the change of heart, though.
I read “Hollywood Kryptonite” a few years back. Wonderful book. Between that and the movie I am 85% sure it wasn’t suicide.
Potentially good news, Mr. David. Max Collins was, the last I knew, researching the death of George Reeves for a Heller story (presumably a novel). I don’t know what the current status of the project is, though. It may be finished or he may have abandoned it.
Is there some sort of problem with the site? I’m asking here because I literally cannot post in the X-Factor #11 thread.
critter42 beat me to it. The telling point, I think, is that you don’t get powder burns from a barrel pressed to the head, but would get powder burns from a shot at any other distance possible in the room. Then add on that freshly oiled guns don’t hold prints, depressives don’t always act rationally (especially when they’ve been drinking), and that having Superman renewed wouldn’t actually have cheered Reeves up, and…well, suicide seems to be it. Not to say that he might not have been whacked by someone else within a few months had he not done himself, but….
“The acting is brilliant all around”. I find that hard to believe because I don’t think Ben could act to save his soul. He is just not any good. He is one of a handful of people who will keep me from seeing a movie.