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Movie fans will remember George Reeves as one of the red-haired twins in Gone With the Wind.

That award winning classic's title also turned out to be a summary of whatever career Reeves had for the remainder of his life – with two exceptions: his unexpected ride to TV-stardom as the first Superman during 1951-58; and his still unsolved “suicide” in 1959.

This movie revolves around Reeves's career and his suspicious death. That is the factual part.

The fictional part is introduced by the introduction of Adrien Brody's character, a certain Louis Simo, a private investigator coming from the seedy side of town, a quick-thinking street-smart failed-father hustler who ends up a very changed man while trying to solve the Superman's murder.

Ben Affleck is admirable as George Reeves except in those close-ups where his hair makeup becomes too apparent for comfort.

Diane Lane as Toni Mannix, the cheating wife of the studio mogul Eddie Mannix (brought to life with vengeance by Bob Hoskins), is not only lovely and alluring but also manages the heart-breaking transition from George's provider-lover to jilted and jealous ex-lover very well.

This powerful cast is directed with great artistic vision by Allen Coulter who shows us what happened before and after George's death with seamless transitions, in two complementary story tracks.

And at the end we are left with at least three different scenarios of what might have happened on the last night when George Reeves was found dead naked in his bedroom with a gunshot to his temple, and two more holes in the floor.

Since there is no factual evidence as to whether the official suicide was indeed a murder, Coulter just raises different possibilities through Simo's eyes but does not push too far in that direction. And that's a good thing too because we are left with Simo's character arc, which is just as significant as Revees's own transformation and disillusionment with Tinseltown.

That respect for facts in an almost bio-pic is unfortunately not always observed. The Black Dahlia, for example, is one good example of an unsolved Hollywood murder which is conveniently solved by the director-writer team of Brian de Palma and Josh Friedman.

Can you do that? Can you actually show on screen who committed a murder which remains unsolved in real life?

Brian de Palma already did it and it's a great movie too, well worth seeing.

But I still prefer Coulter's respect for documentary evidence, his decision to focus on the human reality that spins around a murder case rather than re-inventing the sensational who-dun-it-and-why aspects of some truly bottomless evil.

Ugur Akinci is a writer with 20 years of experience. Visit his web site http://www.writer111.com for more information.

Source: www.isnare.com