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Re-creating old Hollywood; Behind the headlines; Hollywood then and now; Deleted scenes; Feature commentary with director Allen Coulter
Full Product DetailsDisc #1 -- Hollywoodland
1. A Superhero Is Killed (Main Titles) [8:21]
2. Real Detective Work [7:54]
3. Being Noticed [5:59]
4. The Next Morning [8:33]
5. New Take [3:31]
6. Leave the Bow Tie On [9:53]
7. Publicity Stunt [6:12]
8. Behind the Glamour [7:25]
9. On Television [5:02]
10. Putting in a Word [7:00]
11. Typecast [4:15]
12. Deceived [1:13]
13. Meaning of Justice [4:37]
14. Deserves a Statue [3:39]
15. Leonore Lemmon [4:56]
16. Straight Arrow George [1:58]
17. It Just Gets Buried [4:33]
18. The Picture Business [7:03]
19. Seeing the Pieces [6:56]
20. End Titles [9:35]
The reported suicide in 1959 of actor George Reeves -- TV’s original Superman -- is a good jumping-off point for this solid (and sordid) tale of Hollywood hypocrisy and corruption. A tour de force for the oft-ridiculed Ben Affleck, who is superb as the depressed Reeves, Hollywoodland actually focuses on the seedy private detective hired by the star’s mother to prove that her son was indeed murdered. Adrien Brody plays the shady shamus, Louis Simo, whose investigation uncovers behind-the-scenes machinations of MGM executive Eddie Mannix (Bob Hoskins) and his public-relations guru, Howard Strickling (Joe Spano), to hush up the romantic involvement of Reeves with Mannix’s wife, Toni (Diane Lane). As Simo gets closer to the truth, suspicion falls on Leonore Lemmon (Robin Tunney), the hot-tempered wannabe to whom Reeves had just become engaged. Affleck brings depth and poignancy to his characterization, making the kiddie-show star a tragic figure trapped by his own success and unable to capitalize upon it. Lane’s performance is no less skillful; she makes the jealous, possessive Toni Mannix appealingly vulnerable. Brody, too, impresses as the down-at-heel detective driven by an inexplicable force to keeping digging deeper despite all warnings. Hollywoodland plays fast and loose with the historical facts, but director Allen Coulter's film nonetheless captures this essential truth: that by the late ‘50s, Hollywood’s veneer of glamour had begun chipping away, revealing something rotten underneath. — Ed Hulse, Barnes & Noble
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