ED WOOD (1994)
Some idiots still go into the motion picture business to get rich...but the ones who stick around long after the dreams of fame and fortune have curdled into a nasty hangover of disappointment and massive credit card debt are the genuine addicts, driven by an overpowering, irrational desire to project their inner landscapes onto the real world in search of validation, a little fun and a taste of immortality. I’m guessing Tim Burton’s the type of guy who would’ve found a way to keep making movies even if his star had never risen over Hollywood and he’d wound up shooting cable access fantasias on his days off from Applebee’s. And without a budget, an art department or professional actors, his flaws as a director would have been more obvious, his obsessions would have seemed more silly, his distinctive aesthetic would have been reduced to cheesy, ticky-tack attempts at grandeur, easily mocked by a society incapable of distinguishing between talent and success. Ed Wood, Jr. was a similar addict, and it’s definitely arguable whether he would have eventually developed into a better director if he’d ever gotten the breaks and budgets he so desperately craved, but regardless of his ultimate worth as a filmmaker, Burton clearly recognized a kindred spirit in the cross-dressing auteur’s bizarrely inimitable proto-Goth sensibility, which (combined with a perfect storm of pitch-perfect career highpoints from Johnny Depp, Martin Landau and screenwriters Scott Alexander and Larry Karaszewski, working from the fascinating Wood biography Nightmare of Ecstasy by Rudolph Grey) resulted in one of the greatest films ever made about the potential for transcendence in even the shittiest art.
GODS AND MONSTERS (1998)
For the most part, this beautifully imagined story about the last days of the great cult director James Whale (Ian McKellan) is set long after Whale had retired from that Hollywood silliness and stopped setting foot on soundstages. But it remains a fine tribute to the surprising lasting power of movie images, and it does have one terrific moviemaking scene, when Whale flashes back to the experience of directing Ernest Thesiger and company in The Bride of Frankenstein. No one in a movie has better captured the appeal of making movies than McKellan when he rhapsodizes about how much fun it was, "working with your friends." And Brendan Fraser, as Mr. Jimmy's hunky new friend, contributes one of his best screen performances ever when, having watched the movie with his razzing pals, he gently feels relief wash over him as Whale reassures him that, yes, parts of it are supposed to be funny.
BOMBSHELL (1933)
Jean Harlow was an usual critter in her day, a woman who, once she had a few hits to her name and a few scandals notched in her belt, was unimaginable as anything but a movie star. Compare her to Madonna or Angelina Jolie and now it's clear that she was decades ahead of her time, but in her own decade she must have seemed quite the freak. Luckily, she knew how to laugh at herself, and this early talkie, in which she plays a glamourpuss celebrity so seedy yet so artificial that she has the Wizard of Oz for a father, remains the classic template for Hollywood's satiric take on itself in the studio-contract era. Co-starring Lee Tracy, who in the talkie era was to reporters and press agents what Seth Rogen is today to scoring out of his league.
LOS ANGELES PLAYS ITSELF (2003)
Thom Anderson's dense, meaningful masterpiece works on so many levels that, even at over three hours long, the more one sees it, the more one notices what is omitted as much as what is included. Incredibly ambitious, relentlessly formalist, and bearing both the eye of an artist and the soul of a documentarian committed to social justice, Los Angeles Plays Itself is almost totally unique among modern films. Piecing together a century of Hollywood's portrayals of its own surroundings, from the gorgeous Art Deco-tinted luxury of early films to the deliberately hazy nostalgia of Chinatown to the socialist-realist depictions of filmmakers like Charles Burnette, it's a movie that not only presents an almost complete vision of a modern city – and presents that city with love, respect, disappointment and rage, as appropriate – but also manages to do something quite profound at the same time, which is to use film as a medium for portraying how film changes the way we think, perceive and remember a place. Legal issues will likely prevent Los Angeles Plays Itself from ever getting the wide theatrical release it so richly deserves – it features footage from hundreds of films and television shows, and the clearance rights would be ruinously expensive for any production company – but it turns up occasionally at festivals and academic screenings, and the entirely of the movie was, until recently, available on YouTube. (Keep checking -- the copyright cops work slow.) Not only one of the finest movies about filmmaking imaginable, but one of the most unique films ever made, period.
Click Here for Part One, Part Two, Part Three & Part Four
Contributors: Andrew Osborne, Phil Nugent, Leonard Pierce
