"Life (2015)" is the fourth film directed by notorious Dutch photographer and director Anton Corbijn, in which we get a look into the life of James Dean. Corbijn proves to be an accomplished director since the release of his debut and gritty masterpiece "Control (2007)". A film that set the bar so high it became hard to satisfy his newly found fan-base. After his escapades with the thriller genre he returns to the genre he became known for, a biopic. And this time our favorite "Rebel" gets the "Corbijn- treatment", or so we hope.
As the title suggests the story revolves around Dennis Stock, a photographer for the magazine "Life", who gets the assignment to shoot rising and rebellious Hollywood actor James Dean, before the release of his first headlining film "East of Eden (1955)". A friendship develops between both gentleman and the pair travel to L.A., New York and Indiana to get those precious shots Stock is longing for.
DeHaan rather gives us his own interpretation of James Dean. The resemblance between portraying and portrayed actor is marginal. Stock on the other hand is portrayed by Pattison who gives a dull performance although the concept of his role feels dull on its own, something we can't blame Pattinson for directly. Stock's assignment and private life should feel like a struggle though this is poorly translated into the script.
Throughout the movie there are sparks of chemistry between both but in the end it's sad to see that this chemistry is absent for most of the film. It's because of these aspects this period drama sometimes feels like it's sleepwalking throughout its own story, which is a shame considering the fact that "Life" can be considered as almost a personal film for Corbijn. You might expect that a photographer making a film about photography would create something more lively than the overall boring "Life".
Maybe Corbijn made us spoiled little brats, we expect too much from the director that gave us "Control", while you can't blame an audience for expecting something more daring than "Life". James Dean was not only a fascinating character, he also possessed a complexity towards his sexual identity, something the film largely ignores. In conclusion there are some pleasing touches, such as the beautiful cinematography or a refreshing cameo by Ben Kingsley, but in the end this film becomes a frustrating experience for Corbijn fans.
As the title suggests the story revolves around Dennis Stock, a photographer for the magazine "Life", who gets the assignment to shoot rising and rebellious Hollywood actor James Dean, before the release of his first headlining film "East of Eden (1955)". A friendship develops between both gentleman and the pair travel to L.A., New York and Indiana to get those precious shots Stock is longing for.
DeHaan rather gives us his own interpretation of James Dean. The resemblance between portraying and portrayed actor is marginal. Stock on the other hand is portrayed by Pattison who gives a dull performance although the concept of his role feels dull on its own, something we can't blame Pattinson for directly. Stock's assignment and private life should feel like a struggle though this is poorly translated into the script.
Throughout the movie there are sparks of chemistry between both but in the end it's sad to see that this chemistry is absent for most of the film. It's because of these aspects this period drama sometimes feels like it's sleepwalking throughout its own story, which is a shame considering the fact that "Life" can be considered as almost a personal film for Corbijn. You might expect that a photographer making a film about photography would create something more lively than the overall boring "Life".
Maybe Corbijn made us spoiled little brats, we expect too much from the director that gave us "Control", while you can't blame an audience for expecting something more daring than "Life". James Dean was not only a fascinating character, he also possessed a complexity towards his sexual identity, something the film largely ignores. In conclusion there are some pleasing touches, such as the beautiful cinematography or a refreshing cameo by Ben Kingsley, but in the end this film becomes a frustrating experience for Corbijn fans.