Pollock

Ed Harris has taken the biopic to a new level. Although the skeleton of the film is no more than the troubled life of an alcoholic struggling with fame, the power of the acting and sequence of the film take it a step further. The relationship between Krasner and Pollock mirrors that of Stanley and Stella Kowalski but Krasner is a much stronger character and Marcia Gay Harden more than deserved the oscar she received for the part. The only part that concerned me was the explanation Harris chose to show Pollock's progression to his drip paintings. The arbitrariness of the "revelation" seems stretched to me and suggests that it is actually known how Pollock made that movement. All in all, the movie is excellent and worth seeing.

Just be careful - I cringed every time he got into a car...

The romantic notion of suffering for one's art has been cinematically rendered in countless films, depicting the lives of real life artists ranging from Van Gogh to Camille Claudel to Beethoven to Jim Morrison to Rimbaud; but rarely has a film penetrated as deeply as `Pollock,' directed by and starring Ed Harris as the abstract painter Jackson Pollock. The story begins in 1941 and chronicles Pollock's life until the early ‘50s. It's a vivid, and at times grim portrait of a true artist struggling for recognition, as well as with the inner demons that plague his soul and are reflected in his art and the way he lives his life. It is said that the artist `sees' the world differently than the average person, which may be true; and it is that unique `vision' that sets the artist apart. And Pollock was no exception to the rule.

As romantic as it may sound, the reality of suffering for one's art is just that: Suffering. For realizing that vision and bringing it to fruition is more often than not an arduous and tortuous path to tread. Coalescing the fragments of that vision and transferring that information into reality can be a painful process, and one of the strengths of this film is that it so succinctly conveys that sense of desperation and frustration that are seemingly an intrinsic part of `creating.' There's a scene in which Pollock, after having been commissioned to do a mural, sits on the floor of his studio with his back against the wall staring for days on end at the blank canvas stretched across the room, waiting for that spark of inspiration, that sudden moment when what he must do will crystallize in his mind's eye. It's a powerful, intense scene that allows you to share that creative process with the artist and experience the emotional turmoil of it, as well as the exhilaration of the moment when it all suddenly becomes clear, when the vision is realized. It's a stunning moment; Pollock's face fills the screen and you actually see it in his eyes, the exact moment of discovery. And it's absolute magic.

As Pollock, Ed Harris gives arguably the best performance of his career; he perfectly captures every emotional level of this complex individual, from the manic highs and lows (exacerbated by alcohol consumption) to the neutral moments in between. He totally immerses himself in the character, and what surfaces is a thorough and memorable picture of a tortured genius and flawed human being. It's an astounding piece of work, for which he most certainly should have taken home the Oscar for Best Actor.

Marcia Gay Harden received the Academy Award for Best Supporting Actress for her portrayal of Lee Krasner, the woman who loved Pollock and devoted herself (even at the expense of her own career as an artist) to the man and his art. It's a terrific performance, through which Harden brings Lee to life, physically and emotionally. Her amount of screen time seemingly should have qualified her for a Best Actress nomination, but regardless, her work here is unquestionably deserving of the Oscar.

The supporting cast includes Amy Madigan (Peggy Guggenheim), Jennifer Connelly (Ruth), Jeffrey Tambor (Clement), Bud Cort (Howard), John Heard (Tony), Sada Thompson (Stella Pollock) and Val Kilmer (Willem de Kooning). Harris' triumph with `Pollock' does not begin and end with his extraordinary performance, however; though his acting is so exceptional it would be easy to overlook the brilliant job of directing he did with this film. And it is brilliant. The way this film is presented is the work of not only a seasoned professional, but of a professional artist with a unique vision of his own. One of the best films of the year (2000), hopefully it will in the future receive the acclaim of which it is so richly deserving. Hopefully, as well, Harris will direct again; for it is talent like his, and films like this one, that expand the Cinematic Universe as we know it. I rate this one 10/10.

Jackson Pollock was not a likable person. He was an alcoholic, an adulterer, an egotist and simply a plain jerk. He also was a pioneer in the field of modern art, so he became famous and hence, even had this movie about his life.

Ed Harris, a jerk himself, was a good choice for the role. Harris, who looks like Pollock, did a fine job of portraying this "tormented" soul, a word critics love to use for famous artists (see Van Gogh).

This was an interesting film and I watched it twice. It inspired me to become an artist and I did a handful of Pollock imitations, several of which sold for a decent price. I love Pollock's work, and I enjoy character studies of people on film . But this gets a little sordid as the film goes on with a definitely-unhappy ending.

Hat's off to Marcia Gay Harden for her performance as Pollock's wife. She has the New York City accent down pat. She is shown worshiping her husband and it's painful to see her get hurt.

The story is a bit soap operish but if you enjoy art, and especially Pollock's work, you'll find this story fascinating. More than one look, however, changes the canvas, so to speak. The story, more than the art, then will come through more and that can be too much of a downer. So, visit this "art show" once and leave it at that.

Jackson Pollock (Ed Harris) is famous with a Life magazine cover in 1950. The movie flashes back to 1941. He's a drunk staying in Greenwich Village with his brother and pregnant wife. Artist Lee Krasner (Marcia Gay Harden) shows some interest and becomes his lover/supporter. His brother moves to Connecticut. Jackson breaks down which is why he can't be drafted into the war. Lee takes Jackson home acting more and more like his manager. His work eventually gains the attention of art collector Peggy Guggenheim (Amy Madigan) who gives him an one-man show in 1943. Lee and Jackson decides to move to a country house on Long Island away from the drinking and doing more work. His paintings are still not selling and then the Life article happens. Lee and Jackson have a roller-coaster relationship and then he has an affair with Ruth Kligman (Jennifer Connelly).

Ed Harris directs a mostly straight forward biopic of Jackson Pollock with a few fascinating scenes of painting sessions. His directing style doesn't necessarily project Jackson mental breakdowns but his acting is able to bridge the gap. Ed Harris is not the most imaginative director visually but it is overcome by good actors doing good work. It is a good debut directorial effort.

I think it is very hard in general to make a "based on a true story" sort of film, that alone can clamp a pretty heavy anchor to your ankles. Moreso when that true story is one that means a lot to you as Ed Harris has said about Jackson Pollock's biography.

Based upon those precepts, I feel Harris succeeded, however I cannot say this film is an unqualified success. It is sprawling, but unlike Pollock...for cinema circulation, Harris could not stretch his canvas so wide. He gets over two hours here...but I suspect he could have filled six easily.

Based upon early buzz when this came out, including the snippet shown at the Oscars for Marcia Gay Harden, I had trepidation that this would be reduced to a shout and spittle film; that the rage and angst of Pollock and Krasner would be the story. Certainly this is one aspect presented, but not the sole one.

Interestingly to me, it seemed that the more halcyon Pollock's life was, the better his exploration of his art. I went in expecting that alcohol-oiled turmoil would be presented as the key to complicated creation. An artist must suffer and so on.

This shows that while I was familiar with Pollock, I was not that familiar. I could recognize his later chaotic, laced and dripped paintings...but I did not know anything about his personal life.

But in the course of two hours, I did enjoy...

1) Seeing a progression in Pollock's paintings. I had not seen many of his earlier works that had more blocks to them, that were more easily seen as assemblages of images. The way these were filmed, in the act of creation was well done here. Same is true for the latter works.

2) The importance of Pollock's family. I loved seeing his Mother come to the openings. I did not know that two other brothers also painted; Sande alone seems to understand Jackson's talent and torment. Their relationship could have made a film of its own.

3) Jeffrey Tambor's portrayal of Clem, a critic/king-maker of sorts. Us posters here, run the risk of being posers as well. And I think the best of us realize how subjective our comments are, a function of when we watch films, and who we are with, or how we are feeling as much as the films themselves.

4) Following on that notion, to me one thread of "Pollock" is how the circle of critics destroys artists with either persecution or praise. It is not a revelation, that much art is highly personal, both for the purveyor, but painfully so for the artists. Not a revelation, but still worth repeating...

When we see Pollock "drunk" on his ascent, reading from an Italian magazine during a family reunion, that really got to me. Maybe that was more dangerous than alcohol. Even if that critical acceptance is not essential, eating is. Another thread alluded to in this film, how to "work" and to live as an artist.

That scene also drove home the obsessive nature of being an artist, how it is hard at the same time to be a brother, or uncle, husband or perhaps impossible to be a father. Thus that obsession helps to contrast Sande and Jackson, and certainly sets up the power of Marcia Gay Harden's performance. Krasner too is an artist, who has had some success. She retains her name, and her dreams, but fully embraces Pollock, and Pollock's artwork. Her support of him, while aware of her limits, was presented without martyring her. She was not a saint wandering into Pollock's hell.

5) Talking to an artist about his/her obsession is problematic. They are already communicating in their chosen medium, and presumably they are communicating that way as it is easier than using words. I thought the interview with Life magazine in this film, and Pollock's notion of viewing his art as one views a field of flowers helped me. Maybe that was obvious to others, I think that way in music/sound...but in art too often I am hunting for images, for mirrors to our world.

The radio interview that Pollock conducted, halting and awkward could have underscored the travails of talking about art, or it seemed like he was trying to read from a manifesto of sorts (perhaps in real life one exists). Finally, the documentary film is painted as an undoing of Pollock. Fascinating as we ourselves are watching a film about Pollock. It's as if Ed Harris the actor in character could be talking to Ed Harris the film auteur.

The documentary film was to Pollock, what a zoo can be to a wild animal. The habitat corrupts the inhabitant. How Pollock puts on his shoes, when he's done painting, all control is lost...the private process made public, is made impure.

No, that's not the point to this film. If you are looking for a film with one tidy point, go elsewhere. But for an abridged but admirable biopic on Jackson Pollock, with many tangled and tantalizing threads...this is one to rent. And now a book for me to read. Rarely do I watch the deleted scenes and wish they had been in the film, as I did in this case.

There was a great shot early in the film where Pollock is pacing before the mural commissioned by Peggy Guggenheim. From the plot, we know he's worried about looms before him, and we get eerie shots of his shadow projected on the empty canvas to reinforce that. Harris too may have felt this was an ominous undertaking, I hope he pleased himself as he did me.

7/10