Struggling private investigator Louis Simo treats his work more as a means to make a living than a want to do right by what few clients he has. Through connections with the investigation firm for which he used to work, Simo is hired by Helen Bessolo to investigate the death of her son, actor George Reeves. Reeves was best known for his title role in Adventures of Superman (1952), a role which he always despised, in part since it typecast him as a "cartoon", despite it bringing him a certain fame. His June 16, 1959 death by a single gunshot wound while in his bedroom in his Los Angeles home was ruled a suicide by the police, the death which occurred when the house was filled with people. Reeves' story is told in part in flashback as Simo, who is trying to make a name for himself with this case, talks to or tries to talk to some of the players involved, most specifically the wife of MGM General Manager E.J. Mannix, Toni Mannix, with who Reeves was having a relatively open and ... Written by
Sad day, huh, boys? Tell you what's even sadder: calling it suicide when it's really murder. Why would the cops do that?
Funeral Reporter #1:
Sing us a new song, Simo.
What, you don't love me anymore? Two months ago, somebody drained all the fluid out of George Reeves's break lines. Almost bought it right then. Coincidence, right? I mean, LAPD don't make mistakes. Huh, Paterson? What's the truth? Huh, boys? Who wanted him dead? You guys might be lazy, but nobody said you're dumb.
Funeral Reporter #2:
I need some names.
What, you want ...
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HOLLYWOODLAND is now being shown in NYC at special invitation screenings. Saw last night. Probably the first serious contender for end-of-year awards.
Exceptional in quality of script, cinematography, art direction and, especially, its editing.
The four principal actors -- Adrien Brody, Diane Lane, Bob Hoskins and Ben Affleck -- are doing some of their best work to date. I was most impressed by Ben Affleck who I thought would never again appear in a decent movie. He redeems himself here big time.
The narrative weaves interestingly between present tense (in 1959, shortly after George Reeves' death) and the previous ten years or so. A rather long running time of about 2 hours, 10 minutes flies by.
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