Next up on the list is Framing John DeLorean, directed by Don Argott and Sheena M. Joyce and featuring performances from Alec Baldwin and Morena Baccarin. This documentary covers the meteoric rise and fall of John DeLorean, automotive maverick and controversial public figure. While it gets in its own way at the beginning, storytelling ends up taking over and rewards the viewer with a fantastic film and thoughts to consider.
As I was reviewing the films of 2019 I may have missed, I saw this one mentioned. While I hadn’t heard of it, the premise was fascinating, as the car he built is iconic; yet I knew nothing about the man. I’m happy I took the time to check it out, as it had plenty of surprise and intrigue, even if the filler gets in the way sometimes.
The filmmakers seem more interested in the idea of John DeLorean’s life being made into a movie, and they lost my confidence to the point where I nearly shut it off within the first 10 minutes. Bringing in Alec Baldwin to film scenes as John DeLorean, in a film seemingly designed to sell the idea of a film about John DeLorean, and constantly talking about the viability of his story? Not a strong start. These guys could learn a lesson or two from carts and horses. Finally, they get out of their own way and start actually telling DeLorean’s story rather than trying to sell the view on it, at which point the filmmakers’ ability is proficiently demonstrated.
After some time, the recreations of scenes with Alec Baldwin start to feel more natural, even when they’re showing how they’re filming the recreations in the same sequences as the intended shot. Baldwin was a casting director’s brilliant move on the part of looks; costuming does a great job making him look the part. Baldwin still sounds and moves like himself, but it’s not a bad job on shots where he’s invested in the scene. However, Morena Baccarin does a fantastic job playing DeLorean’s wife, Cristina Ferrare. Again, kudos to whomever was handing casting here, who is surprisingly uncredited as a casting director.
Interviews with DeLorean’s son and daughter are humanizing, interviews with his business partners are damning. Usage of FBI surveillance footage, interviews, copy and internal notes are well utilized throughout the film, leading myself to wonder why they needed to involve Baldwin in the first place. DeLorean was a larger than life character who seems to have even the most private moments broadcast to the world; the interview after his divorce even seems to be an exercise in public torture.
As the story builds and we start digging deeper into his life and misdeeds, the story gets more and more gripping until suddenly I’ve found myself invested into where he goes. Truly a stranger than fiction tale, the story is indeed compelling and I begin to understand the filmmakers’ obsession with it to get Alec Baldwin to film a meta movie about his life. Editing is well done, even when the direction goes sideways.
I liked this film, but it seems too much like Baldwin was attached to the production as a shallow effort to draw in people to a story which would be compelling on its own. There’s enough intrigue and racy material to make you feel like this belongs with the Fyre festival documentaries, and anyone who doesn’t already know what happened to DeLorean would find his tale very interesting.
Rating 3/5
Enjoyed it, but probably wouldn’t watch again.
This review is part of the CoronaReviews, a series of quick reviews I’m going to write to stay sane while I wait for the COVID-19 shutdowns to end. I’ve got a long list of films I desperately need to catch up on, but if you have suggestions or commentary, comment below! I’d love to discuss it with you so I don’t lose my mind here by myself.