| Issue #26, September 22, 2006 |
Guy de Fraumeni’s Hollywood 1n The Hamptons
On a Los Angeles hillside, the nine huge placards spelling out Hollywood, originally read Hollywoodland. The sign was the cheesy ploy of an enterprising real estate developer selling homes in what might have been the first theme park a la-la-land – America where happiness was undeniable. Plenty of sunshine, oranges and opportunity. Hollywoodland is back now as the ironic title of a film picturing the failure, dissolution and violent death of George Reeves, the first actor to portray Superman on film. The excellently executed Hollywoodland was first titled Truth, Justice and the American Way, but Superman Returns was in completion and its franchise owner, Warner’s, legally barred it. They later dropped “and the American Way” perhaps realizing that the George Reeves’ story massively reminds us that the phrase has a hollow ring about it. Golly! The Man of Steel dead of a speeding bullet splattering his brains against a bedroom wall! A suicide, or –?
B movie caliber actor Reeves would be the last to believe he could be the subject of a thoughtfully provocative movie that resurrects him from ignominy. Overall, Hollywoodland treats Reeves with sympathetic affection – more as a symbol of the industry’s cut and dried ability to discard the remnants of retooling. Among other stories, the film tells of the blunderbuss effect television had on Hollywood. Reeves was not the only one foundering as the late 40s had the movie business unreeling out of control. He was heavier than the fellow tapped by David O. Selznick in 1938 to be one of Scarlett O’Hara’s suitors. Even then, he loses out to a really nerdy little squirt with squiggly yellow hair. Reeves might have dreamt he’d be another Gable. He had good height, dark oily hair and a boyish but somewhat prize-fighter face. He had youthful hopes of being one, though his hopes were dashed by his protective mother, Helen Bessolo, well-acted by Lois Smith. The few juicy films he did in 41 to 43 were dried up following his WW II service and like his fighting career, his movie career sank despite endless auditions and endless nights niteclubbing (another form of audition). Finally in 1951, two important events occurred, both of which were, in a way, damning: He met a somewhat older woman offering him a hot affair and he got the leading role in the grade Z movie, Superman vs, the Mole Men.
George Reeves’ encounter with the Mole Men was moderately successful. It led to the TV Superman series that became terribly popular. Gee, think of what it was up against – wrestling, ancient westerns and Howdy Doody! Although he was a plumpy -lumpy Superman, it was a success. On the really downside, he was typecast for life. How about his torrid romance? It was risky hot. She was Toni Mannix, more mature and had a lot of money and influence because she was married to the tough Eddie Mannix, an important executive at MGM who had muscle to spare – he wasn’t called “Mr. Fix-it” for nothing. Those were rough times for the major studios; even Louis B. Mayer wouldn’t be able to weather them. Obviously, a guy like Eddie had mob connections and they were, helpful. Here’s the nitty gritty. Much of Hollywoodland owes its intensity to the actors. As good as Lois Smith is as George’s mother, Diane Lane as Toni is fabulous, and Bob Hoskins as Eddie leaps over tall buildings, but it is Ben Affleck as George Reeves that is truly super. Given only third billing, he none-the-less gives a star-plus performance. Of course, a detractor colleague of mine cattily remarked, “Well, it’s perfect typecasting. An actor who has become a joke is not a difficult role for Affleck to do.” I don’t entirely agree. Besides putting on pounds for the part, more so, Affleck put on tremendous weight to his inner self. Sounds serious? Yes, Ben Affleck reaches identity crisis heaviness that is quite remarkable. It is the same with Reeves’ acting ability. I’ve just rescreened 1943’s So Proudly We Hailed, a war movie about nurses in the first days of the war. As older Claudette Colbert’s lover, he does just fine. Eeerily, the nurses calm the war orphan children with numerous Superman stories. Was there something “extra” about Reeves?
Sad to relay, the marvelous actor Adrien Brody, given lead billing and is another thread to the story, plays second fiddle as a private eye hired to solve the death of Superman. Did Toni and Eddie do him in after he took up with the young starlet, Lenore, done by attractive, but equally suspect, actress Robin Tunney?
George Reeves has become a minor legend. Minor or major actor has no meaning. It’s the system we’re talkin’ about. Brr–rr–rr.
Guy-Jean de Fraumeni is the producer/writer/director of award-winning European and American feature films. He has been a judge at major film and TV award competitions, including the Oscars, the Emmys and various film festivals. Sarah Halsey assists him.
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