I have quite enjoyed The latest Hollywood stars (HBO Max), and that its author, an amphetamine Ethan Hawke, pixelated, unshowered and almost always unbearable, made enjoyment very difficult. It is worth overcoming his insane enthusiasm, more like a despues de than the staging of a biographical documentary. You can also ignore the fixed video call shots, that confined curse that some insist on normalizing as a style trait, and the inanities of Ethan Hawke’s famous friends, who know nothing about the protagonists of the series, but think the same.
The latest Hollywood stars They are three simultaneous documentaries. On the one hand, there are the testimonials made with Zoom, which can be passed at double speed. Then comes what seems to be the heart of the matter: the transcripts of the tapes with which Paul Newman was going to write his memoirs. The interested party burned them, but the texts are preserved, and a group of actors (with George Clooney in the role of Newman) interpret them. That part alone is worth it, but the narrative and artistic excellence of the series is in the third documentary it contains, made with footage from the films of Newman and Joanne Woodward. Through these fictions, the truth of their lives is told.
We have been taught to distinguish the actor from the character, so suggesting that the lives of some actors can be told through their characters is almost sacrilegious. Narrate Woodward’s feeling of being an orphan with a scene from The long hot summer or analyze the sense of failure and imposture that dominates Newman by resorting to the hustler it is a metacinematographic, metavital and metatodo game that makes the series a magnificent daring, to the scandal of biographers and the delight of viewers.
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