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While
I'm not particularly familiar with the work of legendary artist Diane
Arbus (most famous for her portraits of New York's fringe... EG:
Freaks), you tend to get the feeling throughout Fur
that the truth isn't exactly what this particular biopic is chasing.
Much like the eccentricities of Arbus' work (which led to her eventual
suicide in 1971 - something which is at no point is mentioned in the
film), Fur
is moreso an internal exploration - the hypothesis of the strange
events that may have eventually led her to look at the world the way
she did.
The
flick opens with Arbus (Nicole Kidman, looking more like a frightened
tit-mouse every time I see her over-botoxed face on screen) living as a
depressed
housewife in an upper class Park Avenue apartment. Assisting her
husband in his photography studio, Arbus helps him shoot ads for
women's magazines. One night she spots her mysterious next door
neighbor (an oddly well dressed man with a frightening
mask over
his face) and decides to take some photos
of her own (using her neighbors as inspiration).
She climbs the stairs to her neighbor's
apartment where she meets Lionel (Robert
Downey, Jr.) a charming man who suffers from hypertrichosis (a rare
disease that causes
thick hair to grow over every inch of his body, including his face -
basically a werewolf!).
From
here, the two introverted extroverts (from polar opposite ends of
society) strike up a flirtatious and eye opening relationship which
soon gets heads turning - in particular that of Arbus' husband,
children and parents.
While the character of Lionel is
completely fabricated, it does serve as an interesting theory as to the
rather drastic change that occurred in Arubus' personality. It's a
story of constriction and liberation, isolation and exploration which
sniffs at the edge of perversion.
Director Steven Shainberg
continues traveling down the strange and confronting path of sexual and
sensual awareness that he first created in the cult hit Secretary with Fur
which makes it oddly compelling viewing. For many, the 'creepiness'
factor may be a little to much - however, for those with more open
minds, Fur serves
as
captivating viewing. You will be drawn into this world which you are so
often to look away from, a world which is hidden from the mainstream -
and it's bizzarely riveting.
Kidman grates on the nerves at
times, and many familiar with Arbus may find the film lacks the reality
and insight of it's subject, however, RDJ is simply superb - bringing a
slow moving (almost Jazz-like) persona to the seductive nature of
Lionel (despite the fact he looks like a floor rug) which makes Fur such oddly
enjoyable viewing.
Like a slow burning candle, Fur
will gradually have you transfixed by the gradual deconstruction of
social rules & regulations - and you're own notions of
normality.
EXTRAS
Quite
a few good little featurettes which help explain the history of Diane
Arbus (most of which are very helpful in filling in the blanks for
those who are unaware of Arbus' works) - as well as explaining the
idea's behind the choice to make 95% of the story a fabrication of
ideas.
It also discusses the purposeful inclusions of various Alice In Wonderland
references (everything from Golden Keys, to cats, to little doors).
I've always found the Wonderland
story a fascinating piece - and quite enjoy anything that directly
seeks inspiration from it (see: The Last Mimzy).
Not
everyone's cup of tea, but there is certainly something here that's
well worth experiencing. A fantastic example of left-of-centre cinema.
Conclusion:
Movie 70% Extras: 55%
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