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As a gay man with money and influence at the height of the AIDS crisis, Wagstaff had an unusual power over others that Hickey is able to draw out in brief glimpses and asides.īetter still is McKinley Belcher III ( The Passage) as Milton Moore, a black man whom Mapplethorpe picked up on the street and groomed into his model and lover.
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John Benjamin Hickey (of WGN's Manhattan) lends a bit more substance to Sam Wagstaff, the wealthy collector and benefactor who propelled Mapplethorpe's career as he fell in love with him. Marianne Rendón ( Imposters) has the unenviable task of portraying an unauthorized Patti Smith, but still lends the singer a sweetness and fragility that give the film a much-needed shot of tenderness. Smith is buttressed by a revolving door of companions far livelier than he their collective, unexamined devotion to Mapplethorpe forms the film's tenuous throughline. A hiccuping timeline makes meaningful character development impossible: Mapplethorpe seems to acquire art-world notoriety immediately after moving into the Chelsea Hotel without a dollar to his name.
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Plodding from one life event (and bedroom) to the next with bored, elevated detachment, he makes his art in that time-honored movie tradition of spreading a bunch of stuff on the floor and staring at it until pop music kicks in. After playing the world's most famous alien in Doctor Who and the world's most famous prince in The Crown, Smith plays Mapplethorpe as an alien who thinks he's a prince. Some of that may be due to an odd, aloof lead performance by Matt Smith. But we see little that tells us anything about the man taking them. And we hear a lot of people describing them as brilliant: the photos enjoy near-universal praise at every step, with all their real-life obscenity complaints relegated to background noise and end-credits postscripts. We see plenty of his photographs in this film, mostly shoved into montages (three in the first 30 minutes, with more to follow). Wait Wait.Don't Tell Me! Not My Job: We Quiz Matt Smith, Prince Philip On 'The Crown,' On PrinceĪs a bridge between the sealed-off art world and the gay BDSM community of '70s and '80s New York, Mapplethorpe pushed photos of penises into galleries and delighted in blurring the line between the sacred and the profane.
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The first narrative feature from the documentarian Ondi Timoner is also a rare misfire for her, a case where the filmmaker's career-long immersion in prickly subcultures and extreme personalities (see: Dig! and We Live In Public) wasn't enough to wrestle down one of the most extreme of them all. The Scratch saga is neither here nor there - but it's a more dramatic and provocative story about Mapplethorpe than Mapplethorpe, the sludgy new biopic of the transgressive artist's prime New York years. Mapplethorpe then supposedly beheaded Scratch with a kitchen knife, boiled away his flesh, and turned his skull into a musical instrument for a class project, wailing, "Scratch is dead!" to a classmate over the phone. But the famed photographer quickly lost interest in the creature, according to his biographer Patricia Morrisroe, and kept "forgetting" to feed Scratch, until one day the monkey keeled over. We're Gonna Need A Wider Lens: Matt Smith plays photographer Robert Mapplethorpe in a new biopic.ĭuring Robert Mapplethorpe's brief time in college, he kept a pet monkey named Scratch.