All of these characteristics hinge on Peter Bogdanovich’s vision of what could have been. The death of Thomas Ince during a birthday cruise has settled into the back pages of Old Hollywood gossip, leaving plenty of leeway for the writer and director to craft their brand of historical fiction (and besides, they’re all dead!).
It’s a credit, then, that everything appears to make sense (even if the rage over the Charleston still doesn’t). The movie finds itself in an interesting predicament when depicting the life of one William Randolph Hearst. His life has almost been taken over by his fictional counterpart, Charles Foster Kane. And, at least in movie criticism, more is known about the latter than the former.
So to see him lose control to the demons of doubt remains a powerful fall from grace. Here’s a man who commands and demands respect, even from the Hollywood elite. All the while, his weak grasp on emotional well-being creates an overbearing atmosphere for his mistress (Dunst). And in this case, the more a man seems distant, the more we realize he’s in many ways the same.
In bringing to life all these names and legends, Bogdanovich and the script do stumble in the dénouement. As Hearst orchestrates his cover-up, the movie tries to play up the emotional impact as well. The message would be much better sent to use a sweeping montage just after the murder reaction scene, showing the extent to which Hearst keeps things quiet with the power he wields. As is, the film loses steam once Ince dies.
And, if Hollywood has taught us anything, it’s that the show must go on. |
