By Any Means, the latest attempt at a “Based on a True Story” biopic, has left me wondering if it’s time to implement a new test to judge the merits of these films. The question is simple: is the movie more compelling than the Wikipedia page of its real-life subject? If the answer is no, the film has failed the Biopic Test. Unfortunately, By Any Means falls short of this mark.
The movie tells the story of Gregory Scarpa, a mob enforcer played by Mark Wahlberg, who becomes an unofficial operative for the FBI to bring down the KKK in 1960s Mississippi. While the true events depicted in the film are undoubtedly shocking, the movie itself fails to deliver a compelling drama. The investigation is dreary and repetitive, with a mystery that’s almost nonexistent. The film’s attempt to balance action and thrills with a thought-provoking exploration of the moral implications of Scarpa’s actions falls flat.
One of the main issues with the film is its one-dimensional portrayal of Scarpa. Wahlberg’s character is a wisecracking, single-minded vigilante who lacks the complexity and depth of the real-life Scarpa. The Wikipedia page of Gregory Scarpa reveals a fascinating and complex character, with a life story that includes salacious details about his mob activities, his work as an FBI informant, and his personal struggles. In contrast, the film’s version of Scarpa is a simplified, caricatured representation that fails to capture the essence of the man.
The Problem with Biopics
The Biopic Test highlights a fundamental problem with films like By Any Means. These movies often take creative liberties with the true story, sacrificing accuracy and nuance for the sake of entertainment. While this can be frustrating for audiences who value historical accuracy, it’s also a missed opportunity to explore the complexities and depths of the real-life characters and events. The Wikipedia page of Gregory Scarpa is a testament to the fascinating story that could have been told, had the filmmakers chosen to delve deeper into the true events and characters.
The film’s failure to deliver a compelling drama is also due in part to its underdeveloped characters. Yahya Abdul-Mateen II’s character, Agent Wayne Strider, is a fictional creation who serves as Scarpa’s “handler” during the investigation. While Abdul-Mateen’s performance is solid, his character feels like it belongs in a different movie, one that’s more focused on character study and less on action and thrills. The contrast between Abdul-Mateen’s subdued performance and Wahlberg’s over-the-top schtick is jarring, making it feel like they’re appearing in two different films.
The Hollywood Machine
The release of By Any Means is a reminder that the Hollywood machine is still churning out films that prioritize spectacle over substance. The film’s obligatory “where-are-they-now?” end titles reveal more about the true story than the entire movie, highlighting the disconnect between the film’s creative vision and the actual events it’s based on. It’s a testament to the fact that, in Hollywood, the pursuit of entertainment often takes precedence over historical accuracy and nuance.
As I watched By Any Means, I couldn’t help but think that the film’s failure to deliver a compelling drama is a symptom of a larger problem in the industry. The annual Nostalgia Harvest is still in full swing, with studios continuing to mine the past for familiar titles and intellectual properties. The Content Mines remain fully operational, churning out formulaic films that prioritize familiarity over originality. And somewhere, a Focus Group is earning another bonus for their role in shaping the creative vision of films like By Any Means.
In the end, By Any Means is a superficial thriller that fails to deliver on its promise of a compelling drama. While the true events depicted in the film are shocking and thought-provoking, the movie itself is a missed opportunity to explore the complexities and depths of the real-life characters and events. As the credits rolled, I couldn’t help but think that the film’s failure is a reminder that, in Hollywood, the pursuit of entertainment often takes precedence over historical accuracy and nuance. And so, the cycle continues, with the Merchandising Department already gearing up for the next big release, and the Franchise Resurrection Department working overtime to breathe new life into familiar titles. It’s just another day in the never-ending saga of Hollywood’s quest for entertainment, no matter the cost.
Finn McFrame, celebrated satirical mastermind and self-proclaimed “Emperor of Irony,” started his illustrious career as a cinematographer, where his expertise in capturing every single frame of a squirrel stealing a baguette earned him accolades at obscure film festivals.
Born in the glamorous town of Boring, Oregon, Finn grew up with dreams of being a Hollywood director until he realized that satire, not cinema, was his true calling—or at least the one that let him sleep until noon.
Finn McFrame: changing the world, one satirical lens flare at a time.
