Mapplethorpe

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.

Award-winning documentarian Ondi Timoner (Dig!) creates her first fiction feature as an episodic ramble, rather than a wild ride. Ticking off famous encounters - an affair with Marianne Rendón's Patti Smith, his careermaking partnership with gay curator Sam Wagstaff (John Benjamin Hickey) - the script feels like a dutiful life-list, its dialogue creakily banal ("You're the Jekyll and Hyde of photography!"). Shot quickly, and on a small budget, the action's confined to stylish interiors, which gives it a shut-in feeling. Smith throws himself gamely into the part, but his languid performance can't spark the movie into life, even when drugs, Aids and heartbreak kick in. Set against Mapplethorpe's taboo-busting work, this homage feels oddly conventional, though it never swerves his hedonistic nightlife. Curious art lovers can check out 2016 doc Robert Mapplethorpe: Look At The Pictures for a smarter, spicier take on his fine work and fast times.

This was a very broad interpretation of the life of Mapplethorpe. It seems that the movie was missing a lot of scenes. Maybe they ended up being cut, or the makers held back. This could have been a masterpiece, but it fell short of that. Redo it with an with a real intention to explore deeper into his life.

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.

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.