Arnold Schwarzenegger gives a guided tour of his many lives in Netflix’s ‘Arnold’

The many lives of Arnold Schwarzenegger get neatly divided into three equal parts in “Arnold,” a Netflix documentary-cum-self-led tour through his remarkable success story as bodybuilder, actor and politician, each more improbable than the other. Now acting again (in a series for Netflix, conveniently), Schwarzenegger’s missteps aren’t ignored in the doc, but the emphasis is on how he pursued and achieved his goals, envisioning his stardom before making it a reality.

Spanning the globe from his early home in Thal, Austria to chomping on cigars in his US estates, the docuseries finds time for amusing asides, like Schwarzenegger’s competitive feud in the 1980s with Sylvester Stallone, a rift that became so toxic, Stallone says, they couldn’t be in the same room together.

The two have long since mended those fences, and Stallone speaks fondly of Schwarzenegger now, saying, “We are the last dinosaurs.”

Breezily told by director Lesley Chilcott, “Arnold” starts with Schwarzenegger’s worship of bodybuilder Reg Park, who parlayed that into playing Hercules in sword-and-sandal epics in the 1960s. Schwarzenegger later followed that path, meeting and befriending Park – whose son is among those interviewed – along the way.

Schwarzenegger’s rise included surviving an abusive father, whom he describes as a broken man after World War II, and throwing himself into bodybuilding, winning multiple Mr. Universe and Mr. Olympia titles.

Conquering acting came harder, but Schwarzenegger applied the same discipline to that sphere, from his role in “Conan the Barbarian” to “The Terminator,” which – as director James Cameron notes – was initially supposed to feature him as the hero opposite O.J. Simpson.

The real genius move career-wise, though, may have come when Schwarzenegger augmented his action niche by branching into comedies like “Twins,” “Junior” and “Kindergarten Cop,” cementing his status as a box-office draw before his turn into politics, and the related revelations about on-set groping of women for which he eventually apologized.

Schwarzenegger admits he’s uncomfortable discussing his “failures,” as he puts it, among them the fact that he fathered a child with a household employee during his marriage to Maria Shriver. There’s also emotion surrounding his brother, Meinhard, who died in a 1971 car crash, with Schwarzenegger not returning home for his funeral or that of his father.

As for his run for governor in California’s 2003 recall election, Jay Leno remembers being genuinely surprised and perplexed when the actor officially announced his candidacy on “The Tonight Show,” thinking of his broadly popular guest taking the risky leap into politics, “What are you doing?”

Although his ability to weather scandal – and blame the media for covering it – seemingly foreshadowed Donald Trump’s presidential campaign, Schwarzenegger became a different kind of Republican in California, advocating for action on climate change and, after a rocky start, finding areas of common ground with Democrats.

Referring to his elder-statesman status now, former chief of staff Susan Kennedy says of the place the 75-year-old Schwarzenegger has come to occupy in speaking out about issues like the climate crisis and public health during Covid, “The world needs him.”

Hardly known for a lack of ego, Schwarzenegger nevertheless balks at the description of him as a “self-made” man, citing all the people who helped him at various stages of his career.

However Schwarzenegger got there, “Arnold” reminds us of his often-surprising and mostly charmed life, failures and all. And while one is tempted to say, “He’ll be back,” the truth is that when it comes to fame, Schwarzenegger hasn’t left the stage, in one field or another, since he first muscled onto it.

“Arnold” premieres June 7 on Netflix.

‘Great Expectations’ serves up another grim revision of a Charles Dickens classic

After a bleak reimagining of “A Christmas Carol” in 2019, Steven Knight (“Peaky Blinders”) is back to give another Charles Dickens tale, “Great Expectations,” similar treatment, with equally grim results. While the underlying story is better suited to such tinkering, even Olivia Colman’s toothy performance can’t salvage this six-part production, meaning viewers should set their expectations accordingly.

Fionn Whitehead (“Dunkirk”) stars as Pip, the poor orphan who is plucked from his humble means and given an opportunity to glimpse life among the upper class by the eccentric Miss Havisham, who Colman invests with a wide-eyed horror movie vibe. Looking the boy over, she muses of his training to become a gentleman that he’s “like an orchid growing wild in the filth of a stable.”

Despite his surreal environs, Pip almost immediately falls for the other young denizen of Havisham’s house, Estella (Shalom Brune-Franklin). Her chilly reserve toward him reflects a numbed acceptance of the harsh reality that, as Havisham tartly tells her, “Girls of your birth really don’t have choices.”

There’s obviously a lot more going on than that, including Pip’s act of kindness toward the escaped convict Magwitch (Johnny Harris), and the latter’s bloody feud with Compeyson (Trystan Gravelle). Pip also receives a taste of the ruthlessness required to achieve the life that he envisions from the attorney Jaggers (Ashley Thomas, whose voice seldom rises above a menacing whisper).

Knight and co-director Samira Radsi certainly give the production an edge, from brutal fight scenes to four-letter words. The story, however, grinds along sluggishly, and while a six-hour format provides the creative team the ability to give Dickens’ weighty book its due, the detours down grimy alleyways tend to work against the project more than for it.

Strategically speaking, FX/Hulu has little downside in partnering with the BBC on these productions, adding classy-looking fare with Oscar-winning talent like Colman to its menu.

That said, Knight’s fascination with Dickens again demonstrates that such revisions don’t always enhance familiar material (the BBC’s last major version came in 2011), as well as the difference between liking that it’s available and actually choosing to devote six hours to it.

Because unlike poor Estella, streaming viewers have a whole lot of choices.

“Great Expectations” premieres March 26 on Hulu.