Like the artists who stock the Whitney Biennial with their plastic puddles of vomit, Fur works feverishly to dress up clichés.
Fur: An Imaginary Portrait of Diane Arbus (2006)
Tomatometer
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Reviews Counted:108
Fresh:33
Rotten:75
Average Rating:4.9/10
Consensus: This portrait of a groundbreaking photographer lacks the daring of its subject.
Rated: 15 [See Full Rating] for graphic nudity, some sexuality and language.
Runtime: 2 hrs 2 mins
Genre: Dramas
Theatrical Release:16-03-2007
Synopsis: Was Diane Arbus a brilliant innovator whose photographs captured the beauty in the most desperate of subjects? Or was she an exploiter of "freaks," shilling pictures of the deformed as a modern-day... Was Diane Arbus a brilliant innovator whose photographs captured the beauty in the most desperate of subjects? Or was she an exploiter of "freaks," shilling pictures of the deformed as a modern-day sideshow? Regardless of where one stands on her work, few can argue its impact on the art world. In FUR: AN IMAGINARY PORTRAIT OF DIANE ARBUS, director Steven Shainberg makes a bold first attempt at bringing the artist to the big screen. The film opens with Arbus (Nicole Kidman) living as a depressed housewife in a ritzy Park Avenue apartment. Assisting her husband Allen (Ty Burrell) in his photography studio, Arbus helps him shoot ads for women's magazines. One night, after spying her mysterious next door neighbor--a sharply dressed man with a hood over his face--Arbus decides to heed her husband's advice to step out and take some photos of her own. She climbs the stairs to her neighbor's apartment with the intention of taking his portrait, and there she meets Lionel (Robert Downey, Jr.). Lionel suffers from hypertrichosis, a disease that causes thick hair to grow over every inch of his body, including his face. He and Arbus strike up a flirtatious friendship, and he introduces her to the underworld of New York. They party with dwarves, dominatrixes, and circus performers--all future subjects of Arbus photographs. Arbus's marriage soon begins to fall apart, and her relationship with Lionel builds towards a traumatic, but transformative, end. In an unusual twist, screenwriter Erin Cressida Wilson has completely fabricated the character of Lionel, and his ensuing effect on Arbus. He is Wilson's fantastical idea of what might have spurred Arbus's metamorphosis from repressed housewife to daring documentarian of those living on the fringe. As the title states, this isn't a biopic--it's an "imaginary portrait," and while some might take exception to FUR's surreal spin on reality, others might find the unconventional film a fitting tribute to the always unconventional artist. [More]
Starring: Nicole Kidman, Robert Downey, Ty Burrell, Jane Alexander
Starring: Nicole Kidman, Robert Downey, Ty Burrell, Jane Alexander, Emily Bergl, Boris McGiver, Christina Rouner, Harris Yulin
Director: Steven Shainberg
Director: Steven Shainberg
Producer: William Pohlad, Laura Bickford, Bonnie Timmermann, Andrew Fierberg
Composer: Carter Burwell
Studio: New Line Cinema
Reviews for Fur: An Imaginary Portrait of Diane Arbus
Both in art and in death, Arbus escaped the demeaning constraints of society. By envisioning her as a flawlessly gorgeous mouse with no will of her own, [director] Shainberg and [screenwriter] Wilson have dragged her back.
In one of her best performances, Kidman impressively depicts the intensely emotional journey of Diane’s self-discovery.
That the picture collapses into near-total absurdity doesn't diminish the daring of its concept, although it certainly calls into question its utility.
Academy Award winner Kidman is a marvelous actress, but her decision to play Arbus as a painfully shy, wavering waif diminishes her believability as an innovative artist.
An alluring psychodrama about Diane Arbus that celebrates freaks, the start of something completely different, and the liberation that comes when soul mates share their innermost secrets.
Kidman guides the audience through this saga of self-discovery with pliable reserve and a communicative face.
Arbus was surely a complex personality and should have been given credit for it. Here, she's practically presented as a cipher.
If you are seeking illumination about Arbus' artistry or her psyche, it's not here.
Fur starts stylishly, and confidently, but the film dwindles down to a chamber piece in a claustrophobic chamber.
This Alice in Wonderland-esque fable, tracking her theoretical evolution from repressed wallflower to visionary artist, doesn't go deep enough down the rabbit hole.
It remains simultaneously too far-fetched and thesis-driven to be convincing and too feelingly done to be ignored.
As much a spiritual sequel to Secretary as an Alice in Wonderland twist on Cocteau's Beauty and the Beast.
If so blatant a fiction is placed in a co-starring role into an account of a real life what can you usefully take away from the movie?
Fur's misstep, and it is significant, is in the creature design of Lionel. The resemblance to Chewbacca is uncanny. He also looks a little like Lon Chaney's Wolf Man.
Fur is that rare movie that's too understated, so quiet and deliberate that it effectively buries consuming passions.
Downey, however, is remarkable, suppressing his trademark jitters and ticks and delivering a performance of heartbreaking sensitivity, no matter that he spends almost all of his screen time staring out from behind a forest of head-to-toe body hair.
Is it more interesting and entertaining than a straightforward biopic of Arbus would have been? Maybe. Is it more illuminating? Probably not.
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