Starring and directed by Ed Harris and featuring the Oscar-winning performance of Marcia Gay Harden. All the featured performances grabbed your attention. Most notably Bud Cort, Jeffrey Tambour as art critic Clement Greenberg, and especially Amy Madigan as art patron Peggy Guggenheim--a small gem of a performance.
This movie has stayed with me more than any I've seen in quite some time. It was a labor of love for Ed Harris, and it shows.
All the elements work together perfectly to achieve the picture's effect. It's not an effect I can sum up in a few words, but it deals with talent, ambition, self-destructive tendencies, and how they all play out in a milieu which itself is largely constituted of those elements and feeds on them. And yet it is more than just another flawed genius movie--because it is so well done. Harris's own talent and ambition carry the day, and he must feel very proud and satisfied with his achievement.
Not that he did it alone, but he was the driving force. As with any picture, many artists contributed, and for this one they all seemed to be at the top of their game. The art direction and cinematography surely must be credited for the film's homely and accurate images--right down to the bathtub in the kitchen of a Greenwich Village cold-water flat. Pollock's New York days were pre-loft, and you really get the feel of the cramped quarters and make-do way of life that supported the work of artists in that period.
And the interplay of the characters has exactly the same tone and mood. They ring perfectly true in their relationships and concerns and reveal how small greatness sometimes can be.
Even the score caught the drip and splash style of Pollock's mature years when he had achieved the height of his ambition.
This movie moved me and made me want to learn more about the life and times of Jackson Pollock.
Loved it! Loved it! Loved it!
This movie has stayed with me more than any I've seen in quite some time. It was a labor of love for Ed Harris, and it shows.
All the elements work together perfectly to achieve the picture's effect. It's not an effect I can sum up in a few words, but it deals with talent, ambition, self-destructive tendencies, and how they all play out in a milieu which itself is largely constituted of those elements and feeds on them. And yet it is more than just another flawed genius movie--because it is so well done. Harris's own talent and ambition carry the day, and he must feel very proud and satisfied with his achievement.
Not that he did it alone, but he was the driving force. As with any picture, many artists contributed, and for this one they all seemed to be at the top of their game. The art direction and cinematography surely must be credited for the film's homely and accurate images--right down to the bathtub in the kitchen of a Greenwich Village cold-water flat. Pollock's New York days were pre-loft, and you really get the feel of the cramped quarters and make-do way of life that supported the work of artists in that period.
And the interplay of the characters has exactly the same tone and mood. They ring perfectly true in their relationships and concerns and reveal how small greatness sometimes can be.
Even the score caught the drip and splash style of Pollock's mature years when he had achieved the height of his ambition.
This movie moved me and made me want to learn more about the life and times of Jackson Pollock.
Loved it! Loved it! Loved it!