Fur: An Imaginary Portrait of Diane Arbus (2006)

Avaliação/utilizador:

6,2/10   

Diretor:

Steven Shainberg

Escritores (WGA):

Erin Cressida Wilson (written by)
Patricia Bosworth (book)

Data de Lançamento:

20 Outubro 2006 (Italy)

Gênero:

Biografia | Drama | Romance

Argumento:

Turning her back on her wealthy, established family, Diane Arbus falls in love with Lionel Sweeney, an enigmatic mentor who introduces Arbus to the marginalized people who help her become one of the most revered photographers of the twentieth century.

Plot Keywords:

Photographer | Marriage | Artist | Female Frontal Nudity | Female Nudity

Prêmios:

1 win

Comentários dos utilizadores:

Extremely flawed concept ends up having some worth

Elenco

Nicole Kidman	...	Diane Arbus
Robert Downey Jr.	...	Lionel Sweeney
Ty Burrell	...	Allan Arbus
Harris Yulin	...	David Nemerov
Jane Alexander	...	Gertrude Nemerov
Emmy Clarke	...	Grace Arbus
Genevieve McCarthy	...	Sophie Arbus
Boris McGiver	...	Jack Henry
Marceline Hugot	...	Tippa Henry
Mary Duffy	...	Althea
Emily Bergl	...	Allan's New Assistant
Lynn-Marie Stetson	...	Fiona (Naked Girl) (as Lynn Marie Stetson)
Gwendolyn Bucci	...	Dominatrix
Christina Rouner	...	Lois
Matt Servitto	...	Handsome Client

Conhecido como:

Fur (USA) (working title)

MPAA:

Rated R for graphic nudity, some sexuality and language.

Duração:

122 min

País:

USA

Língua:

Inglês

Cor:

Cor

Aspect Ratio:

1,85 : 1

Som:

SDDS | Dolby Digital | DTS

Certificação:

USA:R | Ireland:15A | UK:15 | Singapore:M18 | Hong Kong:IIB | Finland:K-13 | Portugal:M/16 | Sweden:7 | Argentina:16 | Japan:R-18 | Netherlands:12 | Greece:K-13 | Chile:14 | South Korea:18 | Norway:10 (TV rating) | Australia:MA

Locais de filmagem:

Jersey City, New Jersey, USA

Companhia :

Edward R. Pressman Film

Pegadinha:

Robert Downey Jr. has a previous connection to the Arbus family. His father, filmmaker Robert Downey Sr. made Greaser's Palace (1972) starring Diane Arbus' ex-husband Allan, with young Robert in a small part.

Goofs:

Erros que se revelam: Towards the end of the movie, Lionel is shown beginning to blow up the canvas raft. He later explains that it is for Diane when he takes his final swim. Someone suffering from such extremely low lung function that he will only live a few months would never be able to inflate a raft that size.

Citações:

Lionel Sweeney: Cookie?

Conexões:

Aparece em "Siskel & Ebert & the Movies: The Worst of 2006" (2007)

Tilha Sonora:

Tangerine

Extremely flawed concept ends up having some worth

This interesting mistake of a tribute to noted photographer Arbus would like to charm us with it's eccentricity and romanticize with unhinged love, but usually (and literally) drowns in pretension instead. This "imaginary portrait" is taken quite liberally, and a text introduction should be the first thing to clue viewers into that fact. The problem is, no matter what excess of strangeness comes from the freaky centerpiece relationship, it seems to have little significance in detailing a substantial portrait of this so-called artist, in actuality being a more resonant character study of her opposite. In focusing on Arbus's bizarre friendship with a human oddity, Fur means to plant the seeds on what gave this important photographer an inner logic that helped redefine her craft, though instead ends up wallowing in it's own superficial quirks and thematic bludgeoning. Behind the nuanced acting and artful direction lies a simple relationship film that does all it can to overshadow a lack of insight by feeling heavier and deeper then the script allows.

Coming across a Gillian-lite, director Steven Shainberg is more preoccupied with atmosphere and weirdness to realistically suggest what actually made this woman tick, while essentially being based on nothing substantially true. It is as if this ridiculously fictionalized account became so real to creators, they forgot to focus on why it was created it in the first place, becoming slaves to the concept instead of the cause. Thankfully, the miscalculated project was alluring enough to catch the attention of Nicole Kidman and Robert Downey Jr., two leads who make the strained proceedings infinitely more agreeable simply due to their outstanding talent. Kidman knew why she wanted the title role here, even if she might not have known the material seemed unflattering at best. Her delicate sensuality, irresponsibly conveyed it may be, remains the glue around which to hang this frail portrait, and even if you don't like her character, you will still probably like her. Downey takes things refreshingly low-key and offers up an interesting perspective which could have served the film better, had his name been the imaginary title portrait instead.

In effect, no small part of Fur: An Imaginary Portrait of Diane Arbus failures remain due to the title itself. By suggesting viewers, let alone fans of this woman's work, are privy to some factually-based docudrama attempting to recreate inspired moments in her life is a joke to her legacy. What's further, this exploitation goes to great unintentional length to wipe out any integrity the lady might actually have, turning beautiful intent into ugly reality with the flicker of a camera. The complete fictional translation of this insipid character study would have been most appreciated, at least taking away some of the bitterness associated with manipulating this person to a pathetic degree, and instead letting it be the indulgent romance it should.