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Pollock (2000)

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2:20 | Trailer
A film about the life and career of the American painter, Jackson Pollock.

Director:

Ed Harris

Writers:

Steven Naifeh (book), Gregory White Smith (book) | 2 more credits »
Won 1 Oscar. Another 2 wins & 9 nominations. See more awards »

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Cast

Cast overview, first billed only:
Ed Harris ... Jackson Pollock
Robert Knott ... Sande Pollock
Molly Regan Molly Regan ... Arloie Pollock
Marcia Gay Harden ... Lee Krasner
Sada Thompson ... Stella Pollock
Eulala Scheel ... Arloie's Baby (as Eulala Grace Harden)
Matthew Sussman Matthew Sussman ... Reuben Kadish
Bud Cort ... Howard Putzel
Amy Madigan ... Peggy Guggenheim
Everett Quinton Everett Quinton ... James Johnson Sweeney
Annabelle Gurwitch ... May Rosenberg
John Rothman ... Harold Rosenberg
John Heard ... Tony Smith
Kenny Scharf Kenny Scharf ... William Baziotes
Tom McGuinness Tom McGuinness ... Franz Kline
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Storyline

At the end of the 1940's, abstract expressionist Jackson Pollock (1912-1956) is featured in Life magazine. Flashback to 1941, he's living with his brother in a tiny apartment in New York City, drinking too much, and exhibiting an occasional painting in group shows. That's when he meets artist Lee Krasner, who puts her career on hold to be his companion, lover, champion, wife, and, in essence, caretaker. To get him away from booze, insecurity, and the stress of city life, they move to the Hamptons where nature and sobriety help Pollock achieve a breakthrough in style: a critic praises, then Life magazine calls. But so do old demons: the end is nasty, brutish, and short. Written by <jhailey@hotmail.com>

Plot Summary | Add Synopsis

Taglines:

A True Portrait of Life and Art.

Genres:

Biography | Drama

Motion Picture Rating (MPAA)

Rated R for language and brief sexuality | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Sony Pictures Classics

Country:

USA

Language:

English

Release Date:

23 March 2001 (USA) See more »

Also Known As:

Pollock, o asymvivastos See more »

Filming Locations:

Long Island, New York, USA See more »

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Box Office

Budget:

$6,000,000 (estimated)

Opening Weekend USA:

$44,244, 17 December 2000

Gross USA:

$8,598,593

Cumulative Worldwide Gross:

$10,994,533
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Starring in and directing the movie was so strenuous for Ed Harris that he collapsed on the set and had to be briefly hospitalized. See more »

Goofs

When Jackson and Lee first go out to the barn, they discover that it was being used for storage and that, if cleaned out, it might make a suitable studio space. In reality, Jackson and Lee moved the empty barn to improve the view from the upper windows of their house. After moving the barn, Jackson started using it as a studio. This was probably done for the reasons that, since they were shooting on location, and moving the barn would have not only been much more expensive, it would have been illegal as it is a historic landmark. See more »

Quotes

[first lines]
Jackson Pollock: [drunk] Who's the greatest drummer in the world?
Sande Pollock: What?
Jackson Pollock: Krupa
See more »

Connections

Referenced in A Beautiful Mind (2001) See more »

Soundtracks

Dodo's Bounce
Written by Jack Lauderdale
Performed by Lucky Thompson
Courtesy of Tuff City
By Arrangement with Ocean Park Music Group
See more »

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User Reviews

impressive biopic
3 November 2001 | by Buddy-51See all my reviews

Although the film doesn't exactly startle us with its thesis – that the life of an artist is rarely a happy one – `Pollock' manages to skirt most of the clichés inherent in the `tortured-artist' biographical genre to provide us with a complex study not only of the man himself but also of the woman who stood beside him through most of his troubled life.

Jackson Pollock was, of course, the prototypical `struggling genius' – neurotic, insecure, arrogant, self-absorbed and forever locked in an epic struggle with his own private demons (in Pollock's case, alcoholism). Out of this morass of personal weaknesses, the painter perfected his art – which became a reflection and synthesis of the raw elements comprising the emotionally chaotic world in which he lived. The film introduces us to the man in 1941 when he is still a virtual unknown living in Greenwich Village, bellowing in an alcoholic rage against the success of Picasso, in whose shadow Pollock seems to be forever hidden away from public view. One day, into his life walks Lee Krasner, a similar, though less gifted, modern artist who detects Pollock's special genius and becomes the future art world celebrity's greatest champion and lover.

Much of the fascination of the film lies in the examination of the complexities of the almost love-hate relationship that develops between the two. On the one hand, we sense that Jackson and Lee provide just the right emotional complement for one another – a shared symbiosis which lays the foundation for an environment in which Pollock's creativity and artistic experimentation can expand and flourish. Lee, for instance, wages a fierce battle to secure Pollock's acceptance among the crème de la crème of New York's art world elite, the result of which is eventual name recognition for Pollock the world over. Yet, Lee pays an ultimate price for her tenacious possessiveness: so all consumed does she become in the life and work of the man who will change the face of modern art that she begins to alienate him and eventually push him away. Unwilling to share him even with a child of their own, she ends up depriving Pollock of the chance of experiencing the joys of fatherhood. The final result is that he is truly left with nothing but his identity as a painter. Thus, as his reputation begins to become eclipsed by newer, younger artists, and as he retreats back into an alcoholic haze after a couple of years of productive sobriety, Pollock's life begins its inevitable spiral downwards into hopelessness and tragedy.

Ed Harris not only stars in the film but directed it as well. He does a superb job on both counts. As Pollock, he supplies the brooding sensitivity as well as the physical intensity that are reflected in the artist's paintings themselves. One never doubts the genuine love Pollock has for Lee, yet always there is the constant threat of physical violence lying latent beneath his placid surface. Marcia Gay Harden matches Harris' performance every step of the way. Beneath her determined, hard-edged exterior lies a woman capable of sincere attachment and a total devotion to both a person and the cause he represents.

Unlike so many films dealing with the lives of artists – in which we see brief glimpses of paint-dabbing followed almost immediately by views of the finished products – `Pollock' provides generous opportunities to see Pollock (i.e. Harris) in action. We sit spellbound as we watch him take a plain white canvas and, step by step, convert it into a work of beauty and art.

If for no other reason, the film is worth seeing just to whet one's appetite and renew one's appreciation for Pollock's work.


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