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Fur: An Imaginary Portrait of Diane Arbus (2006)
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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: 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
Stilted, stylized and art-directed within an inch of its life, Shainberg's movie (which was written by his Secretary collaborator, Erin Cressida Wilson) manages to be both oppressively literal and fatefully fuzzy at the same time.
Pretentious twaddle that tells you nothing about Arbus. Robert Downey Jr. manages to be dignified even when covered in mountains of body hair. That's something.
Don't be fooled for a second by that subtitle. Fur bills itself as An Imaginary Portrait of Diane Arbus, but this thing's got all the imagination of a career bureaucrat slumped in his cubicle awaiting a pension.
Shainberg's fictive biopic is to Arbus what The Agony and the Ecstasy was to Michelangelo. Accent on the agony.
Shainberg neither sugarcoats [Diane Arbus's] distance from her girls nor judges it. The filmmakers understand Arbus's story within the context of her time and upbringing.
The world created by Shainberg never seems strange or real enough to convince us that we're getting the goods on anything. Put another way, this imaginary portrait might have done better had it stuck closer to reality.
[Arbus's] most famous images still have the power to shock, hanging as they do on the walls of the world's museums. Fur, the movie about her, reaches for that same jolt and settles instead for a raised eyebrow.
Whereas Secretary didn’t have to worry about truth, Fur never quite escapes it, nor embraces it.
The more risqué elements are carefully ironed out, resulting in a movie that doesn't evoke the eeriness of Arbus' classic 'Identical Twins' as much it brings to mind the harmlessness of C.M. Coolidge's 'Dogs Playing Poker' series.
Fiction can sometimes be used to access a deeper truth than mere fact, but in this case all it does is obscure and confuse a fascinating life story.
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