PARK CITY, Utah — Harvey Weinstein has a model new movie at Sundance! Only it’s not the sort of movie the fallen mogul would wish proper right here.
Before the bombshell 2017 accusations of Weinstein’s sexual misconduct, the producer was a fixture on the film competitors in this tiny mountain metropolis. And being a relentless advocate for indie movies, he helped improve its worldwide image. But, like Cannes, France, Park City was moreover definitely considered one of his alleged trying grounds; actress Rose McGowan claims Weinstein raped her proper right here in a lodge room in 1997.
So seeing his story, and the tales of a variety of his alleged victims, suggested by the use of film, his beloved medium, in a Sundance theater is a sobering experience. That the model new documentary “Untouchable” is having fun with in Park City in any respect should not be solely a loud denunciation of Weinstein, nonetheless an apology that he ever set foot proper right here in the first place.
Director Ursula Macfarlane’s film doesn’t add quite a bit factually to the narrative. That work has been accomplished, and continues to be accomplished, by dogged reporters. But she takes full advantage of her type to paint a further human portrait — every of the harmed ladies and of Weinstein himself.
“Untouchable” goes once more to 1978, when Weinstein was a reside efficiency promoter in Buffalo, New York. Hope D’Amore, a woman he labored with then who claims he raped her in a Manhattan lodge room in the ‘70s, tries by the use of pauses and tears to make clear the mindset of her once-friend. “If I get what I want, it’s consensual,” she says. “I think he believes that.”
That encounter moreover establishes the 2 parallel sides of this film: Weinstein the skyrocketing genius and Weinstein the monster. The two have been inseparable.
Weinstein and his brother Bob found Miramax. Harvey assaults an assistant who quietly departs. Miramax is bought by Disney in 1993. He assaults one different assistant, who discovers his tried-and-true tactic of using non-disclosure agreements and massive payouts to assure silence. Miramax is nominated for, and wins, Oscar after Oscar in the 1990s and aughts. Weinstein coerces and assaults actress after actress, promising to help their careers. His casting couch goes from whispered rumor to awkward event joke — and Weinstein turns into so extremely efficient, he refers to himself, weirdly, as “The Sheriff.”
One of Macfarlane’s smartest strikes is to intertwine the tales of quite a few victims, along with Erika Rosenbaum, Caitlin Dulany, Paz de la Huerta and Rosanna Arquette, into one scene. What emerges is a continuing story, with practically comparable particulars. As you watch it, you marvel, “How could Hollywood not know this was going on?” They almost definitely did. His Miramax and Weinstein Co. underlings interviewed for the film — along with literary scout Lauren O’Connor, who wrote “the memo” — are considerably conflicted by their experience working with him. Great motion pictures have been made, and however bigger wounds have been inflicted.
“My life is better for having worked with Harvey Weinstein,” one Miramax higher-up says. “And now we all feel survivor’s guilt.”
As intriguing because it’s to see Weinstein’s tireless quest for power in the movie commerce tied to his grotesque want for power over ladies, I really feel there is a further shattering, potent documentary about this man and his misdeeds nonetheless to come — possibly after the world has further time to take up the true enormity of it.
But telling the story in entrance of a completely packed Sundance house is a worthy first step.