So much average

Sick Product of a Sick System

Best movie ever!

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Call her madam, the queen of the vodka stinger, the bongo bongo lady from the Kongo, or even the woman who taught us how to "Zip" properly, Elaine Stritch is a force of nature to be reckoned with, even after her recent departure from our world. It's obvious to me that Heaven has been brightened by a highly complex woman who never ceased to be herself in spite of the odds which lead her life to include much alcohol. "Give me a bottle of vodka and a floor plan", she admits having told a bartender, and after decades of sobriety, decided that "one drink a day" would suit her just fine. In the documentary of her later years which leads to the decision to move back to Detroit after decades away (living in both Manhattan and London where she became a house-hold name in the 1970's), Stritchie is still living and loving life in her mid-late 80's, enjoying her fame from her world tour of "Elaine Stritch at Liberty" and her discovery by younger generations as Alec Baldwin's domineering mother on "30 Rock". She obviously loves people and pretty much makes a major impression on everybody she meets, not only as a stage legend with a 70+ year career, but as a marvelous eccentric as well.Friends from the Broadway stage, T.V. and A.A. meetings re-live their encounters with her, and some vintage footage even shows her singing "You're Just in Love" from "Call Me Madam" with co-star Russell Nype. A medical scare with her reacting to a drop in blood sugar shows her every day fears of being a diabetic. No stone is unturned in showing the soul of this fantastic lady who bares her heart as easily as a baby cries. There are a lot of life lessons to be learned from her stories, especially her determination to face becoming older with grace and spirit. "I'm getting older, not old", she says, yet is aware that as time goes by and birthdays approach, her lifeline is decreasing. Still present is the love she feels for her late husband John Bay, and mentions of Bay's English Muffins keeps his legacy alive. Permission from Sondheim to change the lyrics of his songs in her one-woman show and testimonies from Harold Prince as to the history of their friendship give an overview that the history of Broadway will never be forgotten, especially with such stage stalwarts as Nathan Lane and Cherry Jones giving their own point of view as well.For those who think that this is a self-serving piece of egotistical self congratulatory P.R., they are missing the point. This complicated day and age needs survival stories of such people like Elaine Stritch who have been through hell and back, through good times and bum times, yet still survived. She did it in times when civilization didn't rely on technology, and she dared to come to New York as a naive Catholic girl straight out of college. Her personal memories expand beyond her confessions about Brando, Ben Gazzara and the Rock in "At Liberty" and now even includes a future president. If you want to see what made Broadway tick and the types of personalities which it almost lacks today, check out "Elaine Stritch, Shoot Me". You won't want to shoot, only hug.

Elaine Stritch, that gravelly-voiced, long-legged, larger-than-life singer/dancer/actress and Broadway legend, died less than six months after the release of "Elaine Stritch: Shoot Me," a documentary made when she was 86. At an age when most other performers have long since called it quits, Elaine Stritch went soldiering on, clinging tenaciously to the one thing that gave her life purpose and meaning - performing on stage in front of a loving and devoted audience.Director Chiemi Karasawa and her crew follow this grand dame of the stage around Manhattan as she preps for a new one-woman show, chats with friends, poses for pictures with fans and passersby, and speaks, with often brutal honesty, about her life, her career and her views on aging and death. Needless to say, her outsized talent and personality shine forth through every single moment of the film.On a personal level, the movie chronicles her struggles with alcoholism and diabetes, her marriage to John Bay, the one love of her life, who died of brain cancer in 1982, her affair with Ben Gazara, etc. Karasawa interviews a number of celebrities - Nathan Lane, the late James Gandolfini, the cast of "30 Rock," among them - to get a sense of what it was like to work with Stritch on a professional level. The movie buttresses this with a veritable treasure trove of photographs showing Stritch at various stages in her life and career.The movie doesn't shy away from showing the difficulties and diminished capacities that come with aging. For instance, there are moments of tremendous tension as Stritch becomes increasingly temperamental and irascible, struggling to do things now that came so easily to her in her youth (i.e. remembering lyrics during rehearsals and sometimes even performances). There are times when she even comes across as a bit of a diva or curmudgeon, going so far as to "direct" the documentary itself, molding a particular scene to her own liking. The fact that Stritch died not long after the filming of the movie makes watching it now an especially poignant experience, as what was initially intended as a tribute has now become an elegy.One of her non-celebrity friends describes Elaine Stritch as "a Molotov cocktail of madness, sanity and genius." That pretty much sums her up, all right.

(I felt compelled to check the SPOILER ALERT box because standards as to what constitutes a "spoiler" vary widely among film lovers. Some people want to be told just bout nothing about a given film. Movie trailers generally reveal far, far too much. As a film reviewer I try to keep to myself that which I would not want to know before experiencing a movie.)> ELAINE STRITCH IS A FORCE OF NATURE!I've always appreciated her flamboyant performances, but after seeing this delightful and disturbing biopic about this great dame of stage and screen, I find it impossible not to adore her. Elaine would be the first to admit that she is a "difficult" woman but the last to apologize for it. (We see some behind the scenes footage on the set of TV's 30 ROCK where Elaine is playing Alec Baldwin's "difficult", borderline loony mother and we get the very strong sense that she is really playing herself! Mr. Baldwin receives no small amount of crap from this barbed cactus of a woman, but he gives as good as he gets, and the wonderful closing credits reveal him to be one of the films executive producers. Good move, Alec.)Just about to turn 87 at the time SHOOT ME was filmed, the determined octogenarian is attempting to mount yet another bravura one-woman review, and though they had all been triumphs in a long and storied career, this one may be a bridge too far. Her health and memory are fading fast, and the lyrics in the Sondheim tribute she is undertaking are many and complex. She can't so much sing as bark and growl, but nobody barks and growls better than this one-of-a-kind performer. Her outspoken directness both masks and reveals a profound vulnerability that is very disarming and endearing. Ms. Stritch effortlessly brings the term "feisty" to new extremes, giving (mostly) good-natured grief to everyone she encounters. We see amazing footage from her early career that reminds us that this singer/actor/dancer/comedienne/personality has been terrific for a long, long time.But there's not much time left. Elaine knows this, she thinks about it and feels it deeply, sharing her thoughts and fears nakedly to the camera disheveled and sans makeup in her sick bed. It's wrenching. She knows all too well that that final curtain is soon to fall, and fears that this time, there will be no curtain call. The segments about the horror, humiliation and indignity of growing old are heartbreaking. The segments showing this fierce, brave woman persevering despite a failing body and faltering memory are absolutely inspiring.Along with Rob Bowman, her longtime piano accompanist, we fret and worry for this irascible but lovable woman that she has bitten off more than she can chew. Rehearsals are disastrous. She can barely remember the opening lines of the first song. As the audience assembles for opening night, we know something they didn't: that the formidable Ms. Stritch was not vaguely ready for that curtain to rise, and in fact, may never be And then there is her struggle with the bottle to contend with. She keeps telling us she has cut down to one drink a day, as we see her prepare her third or fourth highball. (Denial, as Mark Twain quipped, is more than just a river in Egypt.)See this wonderful film prepared to laugh and cry and think and feel. The way this consummate professional handles the inevitable lapses in front of live audiences is a true feat of showmanship and a wonder to behold.I love to share my enthusiasm for great films like this, and direct people to great films that might be just off the radar for most people. On the flip side, I JUST HATE SPENDING MY TIME OR MONEY ON MOVIES THAT I JUST DON'T ENJOY. Life is too short- my wallet too empty for that crap. Fellow cinephiles! Please lend me your ear. I publish little-read essays constantly in the QUIET IN THE BACK channel of my KPKworld blog. This was my 100th post in the category. Find the other 99 at:http://lastcre8iveiconoclast.wordpress.com/.../quiet-in.../

Saw this tonight at what may have been the world premiere showing at the Tribeca Film Festival in New York (Friday, April 19, 2013). At the Q&A with the filmmaker afterward, a young woman got up and said that she was a great aficionado of the documentary film, and that this was, she thought, maybe the best documentary ever made. For Stritch's fans -- who were out in force tonight -- it was certainly a love fest. One thought that there could be little more to reveal about this lovable, irascible personality after her great one woman show, "At Liberty" and the HBO documentary on the "making of" that show and its TV edition. But Stritch is, it seems, a person of unlimited depth: peel back the layers of the onion, there's always more, and it's always even more interesting. For those of us who know and love her -- well, at least for me -- the film is a wonderful send-off (Stritch is retiring and moving to Michigan -- or so she threatens) to a woman who has been part of the definition of classy New York for more than half a century. Great love for her is shown throughout the film in interviews with the likes of Alec Baldwin, Tina Fey, Nathan Lane, and, most touchingly, her accompanist (and devoted friend) of the last 13 glorious years of a stupendous career, Rob Bowman -- who himself must be some kind of a saint. If you're already a Stritch fan, you will be deeply moved. If you haven't met her yet, you will be fascinated. If you are among the rare, sad folk who can't stand her, maybe this will change your mind. Side note: Stritch was present at the screening, and after being introduced to a cheering crowd, was asked what she had to say and -- surprise -- "Yes. Where's the bathroom? In 50 years I've never had to ask that, but I need to know NOW." She was escorted out (to general amusement) and the filmmaker and Rob Bowman answered a few questions (Bowman saying how much of a privilege and a joy it has been to work with her). When Elaine returned, she made a brief but very touching statement to the audience, telling us how wonderful we'd been, that we'd laughed and applauded, but not JUST laughed and applauded. She was asked how she liked the film, and she recalled that she had told the filmmaker "I like the film. It's very good. But I wouldn't want to be in it!" A paradox, like the lady herself: tough as nails, yet without a bit of useless armor. One of the great class acts of all time.