Mapplethorpe

"Apparently too complaisant to earn approval from the Robert Mapplethorpe Foundation, Timoner, a documentarian herself, dulls the edge of Mapplethorpe's thornier elements, instead, the Robert her film portrays is an amorphous mass of petulance, narcissism and ambiguity, neither drive nor ruthlessness can be traced from Smith's performance. As if things, homosexuality, BDSM, a Polaroid camera, a sugar daddy in the person of Sam Wagstaff (an affable Hickey), among others, simply happen to this nonentity, and he take them willy-nilly. Also, Marianne Rendón's Patti Smith is equally bland, a disgrace to an iconic figure. Contrary to Mapplethorpe's explosively erotic works, the biopic is too nondescript to make a splash anywhere, save for the 16mm film texture that is alluringly pleasing to contemplate, however, the sheen loses some of its flavor and turns bilious when the film careers toward its destined finish line. The director's cut, released in 2020, runs several minutes longer by interleaving scenes that fumble for some religious influence on Mapplethorpe's anima and artistic inspiration, a fool's errand to inject some semblance of meaningfulness to a picture largely skims on the surface of a controversial figure."

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I cannot say I am a Matt Smith fan because every time I see a project with him in it, it take a while for me to get Matt Smith off the screen and the character he is playing on it. It took an extra long time in this one to get rid of Matt Smith "playing" Robert Mapplethorpe and accept him as Robert Mapplethorpe. Too long to give the film a better rating than a 7. Had Matt disappeared MUCH sooner, it would have been an 8.

The film did show the progression of how Mapplethorpe morphed into a photographer instead of being another type of artist.

No, there wasn't a lot of Patti Smith, but it wasn't a film about her. I liked her time at the end with him.

This renewed my interest in Mapplethorpe and the pure language of art. It was interesting when he told his brother that he had no idea how he did what he did and that made a lot of sense.

This film is a must-see for anyone who appreciates art. Any kind of art.

"Mapplethorpe" (2018 release; 102 min.) is a biographical movie about the life and times of controversial photographer Robert Mapplethorpe. As the movie opens, we are told it is "Pratt Institute, Brooklyn, New York, 1969", where a young Robert Mapplethorpe looks utterly bored. Next thing, we are in Manhattan, where Mapplethorpe is bouncing from place to place, and he is refused entrance to the Whitney Museum as he can't afford the $1 admission. Then one day, at the park, a young lady comes up to him asking for help. Turns out to be Patti Smith. They hit it of right away, and it's not long before they move in together at the Chelsea Hotel. By happenstance, another tenant there introduces Robert to a Polaroid camera... At this point we're less than 15 min. into the movie, and you;ll just have to see for yourself how it all plays out.

Couple of comments: this movie is written and directed by Ondi Timoner, best known for her music documentary "DIG!". As soon as I saw her name attached to "Mapplethorpe", I was pretty reasonably confident that we'd get a good movie. And it is a good enough, although by no means great, movie. The challenge faced by Timoner is how to bring the controversial sides (yes, in plural) of Mapplethorpe, both as to his personal life and as to his art, to the screen, without diluting the essence of the man and his work. In my book, Timoner strikes a good balance. The movie benefits greatly from the incredible performance by British actor Matt Smith in the title role. He really makes you believe that we are looking at the real Mapplethorpe. Beware: the movie contains a fair amount of nudity, mostly male nudity I might add. The early years between Mapplethorpe and Smith have also been covered in Patti Smith's brilliant memoir "Just Kids" (much better than this film, frankly). It is hard to believe that 2019 marks the 30th anniversary of Mapplethorpe's death... The movie's closing credits reference "The Perfect Moment" traveling exhibit later in 1989-90, where upon its exhibition at the Contemporary Arts Center here in Cincinnati in Spring of 1990, the CAC was charged with obscenity, the first museum ever to face such a charge, the movie reminds us. The CAC was subsequently acquitted by a unanimous jury, but the film makers "accidentally forget" to mention this in the movie's closing credits...

"Mapplethorpe" premiered at last year's Tribeca film festival to positive acclaim, and finally was released in theaters this weekend. The Saturday early evening screening where I saw this at my art-house theater here in Cincinnati, was attended okay but not great (about 20 people). Following the screening, there was an insightful, free-flowing half hour Q&A session with Louis Sirkin, the Cincinnati lawyer who successfully defended the CAC against that obscenity indictment. If you have any interest in controversial art and a controversial artist, I'd readily suggest you check this out, be it in the theater, on VOD, or eventually on DVD/Blu-ray, and draw your own conclusion

Greetings again from the darkness. Writer-director Ondi Timoner goes head on (so to speak) with the story of Robert Mapplethorpe, the immensely talented and endlessly controversial photographer whose work in the 70's and 80's was often considered scandalous, if not pornographic. Ms. Timoner and star Matt Smith (PRIDE AND PREJUDICE AND ZOMBIES) are unflinching in this look at the artist, his personal life, and his work ... although I personally flinched a few times.

The opening scene is quite unusual as Mapplethorpe is shown alone in his small dorm room, attired in full Pratt Institute uniform, just prior to dropping out. We next see his NYC meet with Patti Smith (Marianne Rendon), and watch the two oddball youngsters connect. Their relationship develops as Robert shifts from drawing to photography, stating, "I'm an artist. I would have been a painter, but the camera was invented". The couple wriggles their way into the Chelsea Hotel and soon Mapplethorpe is focused on male nudes not just as artistic models, but also as personal pleasure. His interests send Patti Smith packing ... and understandably so.

Mapplethorpe's career takes off when Sam Wagstaff (John Benjamin Hickey) becomes his benefactor and lover. Sam's connections in the art world lead to gallery shows and work that Robert might never have attained. The film never shies away from Mapplethorpe's daddy issues, his promiscuity, his drug use, or his intolerance of those who didn't "get" his work. His fascination with male genitalia in both art and personal life is on full display, as many of his actual photographs are shown throughout.

Once diagnosed with HIV/AIDS, his sexual irresponsibility probably should have been emphasized, but other than that, filmmaker Timoner never tries to sugar coat the man. He seemed to crave attention, yet so many wanted love from him - Patti Smith, Sam Wagstaff, his father (Mark Moses, "Mad Men"), and his brother (who worked with him), all tried to establish that bond, but things just never quite clicked.

Other fine supporting work is provided by Hari Nef, Mickey O'Hagan (TANGERINE), Brian Stokes Mitchell, and Brandon Sklenar. Mapplethorpe's story would likely be best handled via documentary, but Mr. Smith's performance is worthy of attention. The film does a nice job of relaying the two sides to Mapplethorpe's work - the provocative and the portraits. He took some iconic photos of celebrities including the cover of Patti Smith's debut album "Horses".

Ms. Smith's 2010 memoir "Just Kids" paints a more complete picture of their relationship, and it's interesting to note that although he died in 1989, Mapplethorpe's work continues to generate emotional responses. In fact, his work inspired a national debate about whether the government should fund the arts. Ms. Timoner's film has been well received at LGBTQ festivals, and the Robert Mapplethorpe Foundation is devoted to protecting and promoting his work, while raising millions of dollars for AIDS research. His legacy is much more than some black and white photographs of nude models.

Matt Smith is woefully miscast as Mapplethorpe, but the story and the dialogue don't do him any favours. This is not the Mapplethorpe of "Just Kids" or any interview that I have read. The production seems scared of itself and really brushes over sensitive subjects rather than take them on headlong. Mapplethorpe's story deserves a better telling than this.