It's been a while since we saw a truly boggling sophomore slump, one of those infamous second-act follies, like Steven Soderbergh's Kafka, made by adirector blinded with ego and overreach.
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
Fur may not be entirely convincing, but it’s made with a conviction that deserves respect.
The paperback edition of Patricia Bosworth’s mesmerizing book is being published again this week. My advice is forget about the movie and grab this literary gem fast. You will really learn something. You will learn nothing from Fur.
...a strange movie, but it is interesting and the acting is superb, with Oscar-quality performances by both Kidman and Downey.
You won't learn much about Arbus, aside from the correct pronunciation of her first name; you will get to see Kidman try (and fail) to find her inner freak.
A fantastic and imaginative story of the normal and freakish in the fictitious prequel to the singular photography of Diane Arbus.
You’d expect a conventional biopic to be bland and overly telescoped. But Arbus’s life and work ought to inspire something more than the generic tale of a repressed fifties doll wife who runs off with the circus.
The filmmakers behind Fur sentimentalize Arbus, bringing her back into the comfort zone of a woman who is more sensitive than other people to the trials of the unfortunate -- exactly the kind of soft fifties liberalism that she knocked to pieces.
Imaginative enough but slow moving and too focused on alimited center.
Impressively crafted and acted but far too narrowly and benignly conceived to satisfy even on its own terms.
In what seems like a sequel to Birth, we are treated to endless silent close-ups of Kidman's hard, porcelain face struggling to signal girlish repression and longing for release.
An affected fantasia that unsuccessfully tries to conjure Diane Arbus out of a strident urban fairy tale.
The film is visually spectacular, overlapping worlds of fantasy and reality until we're never quite sure what's real and what's not.
Though admirably defying biopic cliches, this is yet another version of Beauty and the Beast, a misconceived fairytale by writer Wilson that fails to illuminate Arbus' genius, and made worse by Nicole Kidman who's miscast as the repressed housewife.
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