Tribeca Film Review: ‘Mapplethorpe’ Doesn't Do Its Subject Justice

Few things are more frustrating than when a transgressive figure is given the standard biopic treatment. When you have a unique life to depict, why do it by the numbers? "Mapplethorpe" is a particularly egregious example of these. Deeply by the book, the photographer is treated as though he was any other 20th-century figure. What a disservice. Sure, the film has plenty of the erect penises he captured in his images, but to what end? Somehow, the movie plays it all too safe. Despite a committed performance from Matt Smith, this is a wholly unnecessary flick. Debuting at the Tribeca Film Festival, it likely won't have much of a future beyond the festival circuit.

The film follows Robert Mapplethorpe (Smith) throughout his adult life, from his slow rise to fame in the 1970's, right up until his AIDS-related death in 1989. His relationship with the eventual rocker Patti Smith (Marianne Rendón) is central to the first act, as he experiments with his art. From there, the movie more or less just wanders through the beats of his life, making sure to feature his portraits and controversial art whenever possible. If only we cared about it. That's not a critique of the man, at all. It's the fault of the filmmakers that his importance is not properly translated to the screen.

This is another case of the most interesting elements of a biopic being relegated to text on the screen, right before the credits roll. Senator Jesse Helms made going after the artist one of his pet causes, even after his death. That sort of pseudo-rivalry could have been a terrific juxtaposition of a counter-culture figure against a right-wing politician. Instead, it's thrown out there just as you're getting ready to leave, long after it could have had its intended impact.

If there's one thing to praise about "Mapplethorpe" it's Matt Smith in the title role. Even as the writing and direction let him down, Smith remains all in on playing the man. There's a uniqueness to his motions that suggests the transgressive figure that the movie desperately wants us to embrace. Smith can only do so much, given the material he's asked to work with, but he elevates the central performance. Without him (and the person I'm about to mention), this would have been borderline unwatchable.

Oddly, despite Smith's efforts, you end up far more interested in Patti Smith, character wise. Marianne Rendón's turn is charming in a way that nothing else here is. The scenes of Rendón and Smith veer her way since she's far more likable of a character. Again, it's nothing against Smith, who is very good, but his character is so poorly conceived. Supporting turns exist for Tina Benko, Brian Stokes Mitchell, Mark Moses, and more, but this is Rendón's show, supporting player wise.

Co-writer/director Ondi Timoner never is able to figure out why this story is worth telling. Along with co-writer Mikko Alanne, Timoner just sort of assumes the importance of the tale. We see a lot of Mapplethorpe's work, enough to ensure an NC-17, but the context is incredibly lazy. It's unfortunate that this is the avenue chosen. Going by the book was completely the wrong approach for this biopic.

What makes "Mapplethorpe" so disappointing is that Robert Mapplethorpe is such a singular character, you could have crafted any number of stories using him. That this was what was churned out is a real shame. Fans of his pictures will see them, but that's hardly enough to justify sitting through the biopic. Tribeca could have launched this movie, but instead, it likely will bury it.

“MAPPLETHORPE” IS SCREENING AT THE TRIBECA FILM FESTIVAL AND CURRENTLY HAS NO RELEASE DATE SCHEDULED.

GRADE: (★★)

Read the full article