Waste of time

one of my absolute favorites!

Best movie ever!

This movie was so-so. It had it's moments, but wasn't the greatest.

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.

A fantastic little documentary on this bigger than life Broadway and cinema star. We are given a look into the woman Elaine Stritch and not just the actress, singer, star Elaine Stritch.She talks about herself as the old woman she is (or rather was) and she talks about herself as the young and beautiful up and coming actress/star. She hides nothing about her life - insecurities, alcoholism, diabetes, her fashion sense, and what she expects of herself and others.Watching this documentary is entertaining even if you have never heard of her. It will also make you glad you didn't know her (as it did for me). She comes across as an overbearing woman with maybe unreasonable demands, but thats what goes into becoming a star in ones own time.

Like its subject herself this is a one-off and a priceless record of a unique entertainer still going strong at 87. It's so good that you find yourself wishing that someone had done the same for George Burns, Jack Benny, Bob Hope and certainly Judy Garland, those artists who somehow transcend iconic and penetrate our psyches the way a harpoon penetrates the blubber protecting a whale. Stritch is seen at both high and low points and though there are nods to her early career - which took off in the late forties in Revue - the bulk of the footage celebrates her later years including the outstanding one-woman show Elaine Stritch At Liberty though the good thing is that it doesn't re-cycle the material from that Tony-winner. She is, of course, closely identified with Sondheim material and though the composer/lyricist is seen a couple of times he is conspicuous by his failure to offer a personal comment as, for example, Alec Baldwin does. This was so noticeable that an audience member brought it up at the Q & A after the screening and the question was fielded by Rob Bowden, Stritch's accompanist for several years, who said that though they formed a mutual admiration society there was also an underlying tension. Fair enough and she doesn't really need an endorsement from Sondheim or, indeed, from anyone. She is her own best Advance Man and long may she continue to be.

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.