When movies are said to be based on a true story, the actual events are often pared down in order to fit into the more traditional story formula of the Hollywood screenplay. Whether such an alteration occurred in the making of Ed Wood I cannot be certain, and for that matter I do not wish to know. For, as far as can be estimated, the sequence of events are offbeat and bizarre enough as presented by its director, Tim Burton, that they feel and look as authentic as can be dreamed up in either fiction or non-fiction.
That the real Ed Wood has been named the worst director of all time is a basic fact of cinema history; that his life, in an odd way, was reflected onscreen in the movies he wrote and directed, is perhaps a less well-known fact. For Wood was a transvestite, a fighter in the Second World War, a hopeless optimist and a man with a fetish for angora sweaters. Despite the fact that Wood's projects were made in the conservative 1950's, these themes all manifest themselves in his sci-fi/horror films. While these elements don't translate very well into the opuses he committed to celluloid -- probably because they ended up being edited on either side of unused and often irrelevant stock footage Wood wanted to include -- they make for mesmerizing story material in and of themselves. And that's where Burton and screenwriters Scott Alexander and Larry Karaszewski should be commended. Shot in black-and-white, Ed Wood boasts re-creations of the original film shoots that look bafflingly identical in almost every conceivable detail.
Johnny Depp portrays Wood in one of his most playful performances to date. He brings a wide-eyed innocence to the infamous director that, coupled with unbridled confidence, turns Ed into a figure who, miraculously, earns a degree of respect by the end of film. Wood may have ended his career in a spiral of alcoholism and terrible porn flicks, but here he is presented as an unwavering film zealot and Depp handles the role reverently. Naturally, Wood's tireless enthusiasm to make movies spread among his friends, including the effete Bunny Breckinridge (Bill Murray), Paul Marco (Max Casella), and Conrad Brooks (Brent Hinkley). But Wood could never have predicted that chance encounters with vintage horror legend Bela Lugosi (Martin Landau), faux fortune teller Criswell (Jeffrey Jones), and late night vixen host Vampira (Lisa Marie) would lead to working partnerships on his productions. For Lugosi, the stakes are high as he battles drug addiction, loneliness, the stark reality of his advanced age, and the prospect of being a celebrity whom no one cares about anymore. His friendship with Ed helps him to live his remaining days in happiness, even though history shows they were spent making some of the worst movies of all-time.
There are other special folks portrayed in the film too, such as Dolores Fuller (Sarah Jessica Parker), Wood's girlfriend up until the point where she finds it too difficult to cope with the eclectic gaggle of characters she is forced to incorporate into her way of life. Professional wrestler Tor Johnson (George "the Animal" Steele) must deliver Wood's dialogue despite a serious lack of acting talent or ability to articulate, and Kathy O'Hara (Patricia Arquette) goes on to become Ed's true love, devotedly following him to tacky film premieres. All are magnificently cast in their roles, particularly Murray and Landau, who won an Oscar for his supporting performance.
Tim Burton has always been attracted to subjects that feature the outsider, and Wood was certainly an outcast by fellow directors and producers in his day. What's magical about the film is that it breaks down that outsider barrier so that Wood's world becomes one full of endless possibilities, where acceptance and tolerance are not only preached but practiced by his devoted fellowers. I'll give you an example. In one hilarious scene, Wood and his posse get baptized in order to extract funds to finish a film. A traditional screenplay would have had the group stage a walk-out in protest; here, the gang takes a baptism for Wood with barely a fuss. It's a reflection on that acceptance and tolerance.
For those who love movies or who have ever wanted to watch the penultimate movie about people who love movies but have no clue how to make them, Ed Wood is the answer. There have been many movies made about Hollywood and its filmmakers, but few of them make you want to rush out and rent all of the chronicled titles at their conclusion. Here is the exception. It is virtually impossible not to want to view Glen or Glenda or Bride of the Atom (later retitled Bride of the Monster) in all their tomato-stained glory. Wood shot his scenes with one take, even if parts of the set were still moving or if the special effects looked completely fake. And yet, after discovering how much he loved to make movies, he becomes a pioneer for the viewer; uncompromising in charging forward despite the odds or the end results. There is a wonderful moment near the end of the film when Wood, his cast, and his crew are all dressed up to attend the world premiere of the disastrously terrible Plan 9 from Outer Space, and all of them have an indescribable look of immense pride on their face. It is a strange, touching moment that makes this motion picture -- and the characters it depicts -- truly unforgettable.
