POLLOCK

Ed Harris has been interested in doing a film biography of “POLLOCK” for a decade, and it’s refreshing to find that he finally got it made, but more importantly, that it’s really good.  It’s always a bit scary when an actor wants to turn to “directing”.  In “POLLOCK”, Harris directs and stars, and he does both with excellence.  Any film about the painter would seem commercially risky, because it’s subject matter, the life of an anguished painter, is less than cheerful. He’s also not very sympathetic. Yet, it’s because of Harris’ direct and earnest approach, devoid of sentimentality, that makes “POLLOCK” unusual and even entertaining.  Harris never really cracks the code to what’s going on in Pollock’s head.  We never truly understand “why” he does some of the unlikable things that he does, and more importantly, it seems Pollock doesn’t know either. 

What the film does try to answer, however, is what makes his painting so provocative and inspiring.  In one of the best scenes, an accidental spill of paint, leads to a new style for the painter.  It’s a brilliant sequence and the cinematography, editing and wonderful music all come together to weave a magnificent tapestry worth viewing again and again, as we did!

Harris has also put together an outstanding cast. Marcia Gay Harden is terrific as Pollock’s wife, and the rest of the cast, including the beautiful Jennifer Connelly, is terrific. 

COLUMBIA TRISTAR has presented the film with its proper 1.85:1 aspect ratio and 16:9 enhancement.  The image is generally pleasant, however there are a few scenes with an abundance of oversaturation. Contrast is also inconsistent in quality.  While it’s fine for most of the film, some of the darker scenes offer less delineation between blacks and grays than we’re used to with most COLUMBIA TRISTAR releases.  Still, even with these problem areas, the fleshtones are excellent and there’s not a hint of grain anywhere.

COLUMBIA TRISTAR has presented a Dolby Digital 5.0 mix.  While there’s no LFE channel, there’s still a surprising amount of bass effects.  As mentioned in the paint-spilling scene, the score is wonderful and is well complimented with the mix here.  While most directional effects are limited to the front, there are some surround moments, and the dialogue is always intelligible.

“POLLOCK” is a “Special Edition” and there’s some great stuff here.  There is a deleted scenes section, complete with extended scenes as well as completely “cut” scenes.  One of these is incredible, and even with a compromised look, it’s well worth viewing.  A terrific interview Harris did with Charlie Rose, is offered in its entirety, and it’s also outstanding.  “THE MAKING OF POLLOCK:BEHIND THE SCENES”, is a featurette with some behind-the-scenes footage.  Harris provides a running commentary on an isolated track. It’s a great commentary, because while not “screen-specific”, we get to understand the filmmaking process better here than on most commentaries. Harris is gracious with his knowledge here, and it’s one of the best commentaries we’ve heard all year.