Hollywood, 1959—In the same year that ""Some Like it Hot"" and ""Ben-Hur"" premiered, the star of the daytime television show ""Adventures of Superman"" committed suicide. George Reeves, (not to be confused with Christopher Reeve, star of the ""Superman"" movies), is the center of Allen Coulter's ""Hollywoodland,"" a film-noir mystery starring Ben Affleck as Reeves, Adrien Brody as the private investigator who takes his case and Diane Lane as Reeves' wealthy mistress who helps him to success.
Coulter's film is a captivating one, due to both the mystery and the inside-Hollywood look at the lives of Reeves and his companions. Unfortunately, as the film approaches its latter half, the story abandons Reeves for Brody's character and subsequently falls flat.
""Hollywoodland"" opens with the crime scene at Reeves' Hollywood home. The story according to Reeves' fiancAce was that Reeves, who had recently been suffering from depression, took his own life after entertaining a few friends that evening. Detective Louis Simo (Brody, proving that there is life after ""The Pianist""), gets a tip from Reeves' mother that the cause of death was not suicide, but murder. Simo gets cracking with an ever-expanding list of suspects and the story goes from there.
Simo's case is interwoven with flashbacks to Reeves' career, a struggling actor who meets Toni Mannix (a superb Lane, both fiery and vulnerable), MGM executive Eddie Mannix's wife. Mannix and Reeves form a relationship, leading Mannix to encourage Reeves to take the role of Superman for the children series ""Adventures of Superman.""
""Hollywoodland"" has all the makings of an Academy Award-contending film. As a period piece it sparkles, with the appropriate amount of cigarette smoke and lavish costumes, thanks to costumer Julie Weiss. The film breathes life into 1950s Hollywood, most notably and surprisingly by Affleck's dead-on portrayal of the charming but discouraged actor. Coming off a slew of bad movies (aren't people still making ""Gigli"" quips?), Affleck perfectly captures Reeves' frustration and wish to be taken seriously as an actor, quite possibly because it is a struggle to which Affleck can relate.
But ""Hollywoodland"" has a hard time balancing and intertwining Simo's and Reeves' stories. Simo has all sorts of fantasies about what really happened, but as his case becomes increasingly difficult, it becomes clear that he is probably more interested in what solving the case would mean rather than the case itself.
As the movie reaches its climax, the film suddenly expects the audience to sympathize with Simo, which is nearly impossible.
The failure for Simo's character to make an impression is more the fault of the screenwriter than Brody. We see him dabble in alcoholism, fistfights and bad parenting, but the first half of the movie never gives time to create a real, full-blooded character.
Reeves' case is considered a mystery to this day, and while ""Hollywoodland"" seems intent on reopening it, by the end it wants to close it again, abandoning Reeves and leaving the audience with ambiguity and a half-developed character.
