Fur is a nice-looking movie, Kidman a fine actress, but the metaphorical purpose of the hairy-guy thing is at once too obvious and insufficient in explaining Arbus' work.
Fur: An Imaginary Portrait of Diane Arbus (2006)
Tomatometer
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Reviews Counted:108
Fresh:33
Rotten:75
Average Rating:4.9/10
Consensus: This portrait of a groundbreaking photographer lacks the daring of its subject.
Rated: R [See Full Rating] for graphic nudity, some sexuality and language.
Runtime: 2 hrs 2 mins
Genre: Dramas
Theatrical Release:Nov 10, 2006 Limited
Box Office: $148,913
Synopsis: Was Diane Arbus a brilliant innovator whose photographs captured the beauty in the most desperate of subjects? Or was she an exploiter of "freaks," shilling pictures of the deformed as a modern-day... Was Diane Arbus a brilliant innovator whose photographs captured the beauty in the most desperate of subjects? Or was she an exploiter of "freaks," shilling pictures of the deformed as a modern-day sideshow? Regardless of where one stands on her work, few can argue its impact on the art world. In FUR: AN IMAGINARY PORTRAIT OF DIANE ARBUS, director Steven Shainberg makes a bold first attempt at bringing the artist to the big screen. The film opens with Arbus (Nicole Kidman) living as a depressed housewife in a ritzy Park Avenue apartment. Assisting her husband Allen (Ty Burrell) in his photography studio, Arbus helps him shoot ads for women's magazines. One night, after spying her mysterious next door neighbor--a sharply dressed man with a hood over his face--Arbus decides to heed her husband's advice to step out and take some photos of her own. She climbs the stairs to her neighbor's apartment with the intention of taking his portrait, and there she meets Lionel (Robert Downey, Jr.). Lionel suffers from hypertrichosis, a disease that causes thick hair to grow over every inch of his body, including his face. He and Arbus strike up a flirtatious friendship, and he introduces her to the underworld of New York. They party with dwarves, dominatrixes, and circus performers--all future subjects of Arbus photographs. Arbus's marriage soon begins to fall apart, and her relationship with Lionel builds towards a traumatic, but transformative, end. In an unusual twist, screenwriter Erin Cressida Wilson has completely fabricated the character of Lionel, and his ensuing effect on Arbus. He is Wilson's fantastical idea of what might have spurred Arbus's metamorphosis from repressed housewife to daring documentarian of those living on the fringe. As the title states, this isn't a biopic--it's an "imaginary portrait," and while some might take exception to FUR's surreal spin on reality, others might find the unconventional film a fitting tribute to the always unconventional artist. [More]
Starring: Nicole Kidman, Robert Downey, Ty Burrell, Jane Alexander
Starring: Nicole Kidman, Robert Downey, Ty Burrell, Jane Alexander, Emily Bergl, Boris McGiver, Christina Rouner, Harris Yulin
Director: Steven Shainberg
Director: Steven Shainberg
Producer: William Pohlad, Laura Bickford, Bonnie Timmermann, Andrew Fierberg
Composer: Carter Burwell
Studio: New Line Cinema
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Reviews for Fur: An Imaginary Portrait of Diane Arbus
Fur may not be entirely convincing, but it’s made with a conviction that deserves respect.
"Fur: An Imaginary Portrait of Diane Arbus" points out in its title that the picture is mostly fictionalized, but in the opening prologue it states that Diane Arbus was one of America's most important artists. Why make that statement if you can't prove it
Far-out touches and liberal application of metaphor are compensated for by intensity and two mesmerising performances.
Purists will howl at the liberties Shainberg has taken with the facts, but there's a bravery to Fur, an uncompromising commitment to its narrow focus -- of one woman's creative birth -- that rhymes with Arbus's own artistic courage.
If the filmmakers are telling us that Diane's artistic creativity was unleashed by the love of a good freak, then it's a shame. To turn a story so full of good intentions at the beginning into another movie about a woman who is liberated from the chains
Kidman guides the audience through this saga of self-discovery with pliable reserve and a communicative face.
As much a spiritual sequel to Secretary as an Alice in Wonderland twist on Cocteau's Beauty and the Beast.
Fur knows how to get under our skin, and it also knows something Arbus demonstrated in her unsettling work: Beauty comes from unexpected places.
If you are seeking illumination about Arbus' artistry or her psyche, it's not here.
Whereas Secretary didn’t have to worry about truth, Fur never quite escapes it, nor embraces it.
Director Steven Shainberg's long awaited follow-up to his groundbreaking film "Secretary" (2002) is an anti-biopic that dares to read between the lines of its subject's life rather than replay the common knowledge events of photographer Diane Arbus' life.
Much of the film is absurdist nonsense, and its symbolism is of the plank-to-the-head variety.
In making her biography understandable, if "imaginary," it also makes [Arbus's] work—so thrillingly strange—a bit too familiar.
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