For those who don't know Arbus' work, there's little to glean from this portrait.
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
It's cool and detached, and even its shocks feel calculated and contrived.
You develop an eye on the exit sign and a new urgency to stop wasting your time on an unsatisfying film.
Much of the film is absurdist nonsense, and its symbolism is of the plank-to-the-head variety.
As a biopic, it is as meretricious as most, but as a myth about love and loss, about otherness and identity, about compassion and revulsion, about fetishism and sex, about art and life, it will likely stay with you for days.
The movie officially becomes the one thing Arbus’s photography refused to be: normal.
Fur is stuck with offering a reductive and unenlightening view of the real Arbus.
Does it have to be a man that turns her into an artist? Sure he's just a metaphor, but it's still an absurd and insulting suggestion.
If the movie is highly unlikely to connect with all who see it, it will connect on a deep level to some who do, in no small part because of Kidman's committed, even daring performance.
This fractured beauty-and-the-beast fairytale comes off disturbingly simple-minded.
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.
Arbus (whose actual work is unseen, presumably because of rights issues) remains an enigma, and Kidman's wispy portrayal doesn't give the film the center it needs.
Kidman brings her character to life with a fey, moth-to-the-flame enthrallment that's both touching and fascinating.
To call Fur one of the year's best seems a little diminishing -- it's a classic.
The film takes enormous liberties by embellishing one small aspect of her life to the point of silliness.
Fur knows how to get under our skin, and it also knows something Arbus demonstrated in her unsettling work: Beauty comes from unexpected places.
In Fur the filmmakers have created something more unbearable than the pretentious biopic of a suffering artist: the pretentious pretend biopic of a suffering artist.
A shaggy dog story for adults, but one that takes itself much too seriously...so pretentiously, and turgidly, dramatized that...it borders on the risible.
Perverse, pretentious and tiresome fantasy - with a narrow, hallucinogenic depth of field.
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