Whether you like the art of arguably America's greatest artist is a moot point when it comes to watching "Pollock". It's Ed Harris's tour de force. Never has he been so convincing or seemingly passionate about his role or the film in which he is starring.
It could be argued that Harris's interest in making "Pollock" drew more out of his resemblance to the painter than to a genuine urge to depict one of his heroes. But judging by Harris's work here it would be foolish to put forward such an opinion. Harris is genuinely brilliant in the title role and as director, he holds the film together, making for an interesting and thankfully unpretentious biopic of a tortured genius.
The film opens in 1950, at a Jackson Pollock exhibition. The great man himself stands delirious, gazing into space, his paint splattered hand reaching into his jacket pocket to sign obligatory autographs. From this opening scene we can tell this is a man jaded by fame and celebrity.
Jump back nine years earlier and we see the beginnings of Pollock's rise to fame. We also witness his disease of alcoholism. Living in his brother's apartment, Jackson's roguish and potentially violent personality is at odds with his emotional frailty.
He eventually meets Lee Krasner (Marcia Gay Harden), a New York painter who is awestruck when viewing Pollock's work. She convinces him to work hard and they end up in a relationship. It seems Krasner was more of a mentor and guide than as a lover, but there is a distinctive bond between the two that is hard to ignore.
Thanks to Krasner's enthusiasm for his work, Pollock becomes more productive. He catches the eye of wealthy and influential art collector Peggy Guggenheim (Amy Madigan), eventually securing wall space at one of her galleries. But as his stock rises, Pollock drinks even more heavily, causing him to behave erratically, hurting those close to him, especially Krasner.
Pollock's transformation to pure abstract expressionist is a delight to see. It begins with his mural work for Guggenheim and continues when he and Krasner move to Long Island. The genesis for the 'drip' paintings is brilliantly captured by Harris and cinematographer Lisa Rinzler and the action of the execution of his work is thrilling to watch.
As in all great artistic tragedies go, Pollock's life is undone by his fame and we are painfully caught up in his final years of artistic and emotional decline. As gifted as he was, Pollock was short-changed when it came to his mental stability.
Ed Harris was deservedly nominated for an Oscar, though there was occasionally a feeling that the viewer is watching Ed Harris play Jackson Pollock rather than just seeing Pollock himself. Harden is superb as Krasner, a tower of strength against Pollock's whirlwind of emotion and drunken stupor.
The flow of this film helps it stand above other efforts, most notably "Basquiat" and "Surviving Picasso". It lacks any arty pretence, simply portraying a man with at once an incredible gift and a horrible ailment. Art focussed or not, this is a solid movie whose praise is deserved.
It could be argued that Harris's interest in making "Pollock" drew more out of his resemblance to the painter than to a genuine urge to depict one of his heroes. But judging by Harris's work here it would be foolish to put forward such an opinion. Harris is genuinely brilliant in the title role and as director, he holds the film together, making for an interesting and thankfully unpretentious biopic of a tortured genius.
The film opens in 1950, at a Jackson Pollock exhibition. The great man himself stands delirious, gazing into space, his paint splattered hand reaching into his jacket pocket to sign obligatory autographs. From this opening scene we can tell this is a man jaded by fame and celebrity.
Jump back nine years earlier and we see the beginnings of Pollock's rise to fame. We also witness his disease of alcoholism. Living in his brother's apartment, Jackson's roguish and potentially violent personality is at odds with his emotional frailty.
He eventually meets Lee Krasner (Marcia Gay Harden), a New York painter who is awestruck when viewing Pollock's work. She convinces him to work hard and they end up in a relationship. It seems Krasner was more of a mentor and guide than as a lover, but there is a distinctive bond between the two that is hard to ignore.
Thanks to Krasner's enthusiasm for his work, Pollock becomes more productive. He catches the eye of wealthy and influential art collector Peggy Guggenheim (Amy Madigan), eventually securing wall space at one of her galleries. But as his stock rises, Pollock drinks even more heavily, causing him to behave erratically, hurting those close to him, especially Krasner.
Pollock's transformation to pure abstract expressionist is a delight to see. It begins with his mural work for Guggenheim and continues when he and Krasner move to Long Island. The genesis for the 'drip' paintings is brilliantly captured by Harris and cinematographer Lisa Rinzler and the action of the execution of his work is thrilling to watch.
As in all great artistic tragedies go, Pollock's life is undone by his fame and we are painfully caught up in his final years of artistic and emotional decline. As gifted as he was, Pollock was short-changed when it came to his mental stability.
Ed Harris was deservedly nominated for an Oscar, though there was occasionally a feeling that the viewer is watching Ed Harris play Jackson Pollock rather than just seeing Pollock himself. Harden is superb as Krasner, a tower of strength against Pollock's whirlwind of emotion and drunken stupor.
The flow of this film helps it stand above other efforts, most notably "Basquiat" and "Surviving Picasso". It lacks any arty pretence, simply portraying a man with at once an incredible gift and a horrible ailment. Art focussed or not, this is a solid movie whose praise is deserved.