PERCY VS GOLIATH (2021)

April 29, 2021

Greetings again from the darkness. When one thinks of casting a farmer in a legal drama, surely Oscar winner Christopher Walken (THE DEER HUNTER, 1978) is not even on the first two pages of the casting director’s list. However, lest we forget, a great actor will make a role their own, which is exactly what Mr. Walken does here. Director Clark Johnson (known mostly for his TV acting and directing) is working from a script by co-writers Garfield Lindsay Miller and Hillary Pryor, and it’s based on the true story of Canadian farmer Percy Schmeiser, who fought corporate giant Monsanto all the way to the Supreme Court.

Walken as Percy admits, “I save my seeds.” If this were the story of canola seeds that some farmer saves each year for his crops, I’m guessing there would be little interest. But of course this is the story of one independent farmer standing up for the rights of all farmers against agricultural giant Monsanto. This is the age old story of “the little engine that could”, or the high hopes of ‘the little old ant who thought he could move the rubber tree plant.’ Percy and his wife Louise (Roberta Maxwell) are grounded folks – he mostly keeps to himself, and she is known locally for her pie-baking expertise. These are good folks who are working the same land that’s been passed down for generations in his family.

The lives of Saskatchewan farmers Percy and Louise get rocked when, in 1998, Monsanto sues them for the presence of a patented formula in Percy’s canola crop. He’s no dummy, and Percy knows that he has always carefully collected his own seeds each season … just as his father taught him. He’s also a fighter, so Percy enlists local attorney Jackson Weaver (Zach Braff) to handle the case against a sea of Monsanto white man attorneys (yet another battle pitting a little guy against big money). Overly enthusiastic environmental activist Rebecca Salcau (Christina Ricci) offers help to Percy from her organization, and this leads to multiple speaking engagements for him as he literally travels around the world. Their objectives are different – Rebecca wants safe crops (not sprayed with harmful chemicals), while Percy wants independence to farm. Monsanto is there to protect their patented process that increases yields and profits.

There is a 2009 documentary that focuses on Percy Schmeiser, but I have no idea where to find it. The story is fascinating, as it involves unusual characters and the safety of food crops. Supporting work is provided by Luke Kirby and Martin Donovan, though neither are given much to work with. The joy here is in watching Christopher Walken dig in to a role that demands much from him. It’s far removed from the caricatures he often plays these days. Veteran Cinematographer Luc Montpellier (CAIRO TIME, 2009) is stuck in the courtroom a bit too much, but when the camera heads outside, he does his best work. Percy died in October 2020 at the age of 89, and director Johnson includes a photo of Percy and Louise over the closing credits. He was quite a little engine that could … and did.

In Select Theaters, on Digital and On Demand April 30

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Posted by David Ferguson

FOUR GOOD DAYS (2021)

April 29, 2021

Greetings again from the darkness. Drug addiction provides bountiful harvesting for emotional message movies, though I’ll admit to some difficulty in relating to the subject matter. Writer-director Rodrigo Garcia (ALBERT NOBBS, 2011) has worked with co-writer Eli Saslow to adapt Saslow’s 2016 Washington Post article, “How’s Amanda: A story of truth, lies and American Addiction”. It’s an all-too-common tale of how addiction ruins lives and tears families apart. If not for two strong lead performances, Garcia’s latest movie would be just ‘another log on the fire’.

The filmmaker has re-teamed with his ALBERT NOBBS star, Glenn Close, who plays Deb, mother to Molly (Mila Kunis), a 10 year drug addict who shows up at mom’s house asking for help “getting clean”. Of course, mom has heard this too many times over the years. See, Molly has not only stolen from her mother and lied to her frequently, but she’s also been through detox/rehab 14 times over those 10 years. Deb initially refuses to let Molly in the house, but relents the next morning and drives her straight to the detox center. The doctor tells her she qualifies for a new magic shot that will block the drug cravings and effects if she can stay clean for four days (hence the film’s title). Any drugs in the system will cause complications, and likely prove fatal.

So Deb babysits Molly, who we learn has two kids by her ex-husband, Sean (Joshua Leonard). Turns out, he’s not such a great guy either. I’m certainly no expert, but it appears to me that Ms. Kunis goes all-in as an addict, replete with rotted teeth, damaged skin, and an attitude that warrants a swift kick. Ms. Kunis was excellent in BLACK SWAN (2010), but it seems she spends most of her time in comedies. She proves again that she has some dramatic chops, and hopefully will continue to pursue more serious roles. Ms. Close, who recently set the record for futility by becoming the first actor with 8 Oscar nominations and no wins, dons yet another terrible wig (ala HILLBILLY ELEGY, 2020) and works very hard to create a full-fledged mother from an underwritten character. The film briefly dabbles with the mother-daughter history of abandonment, but never digs deep enough for real meaning.

Stephen Root is given little to do as Deb’s second husband, and Sam Hemmings has one good scene as Molly’s dad who is confronted by Deb. Clichés abound in the story, yet the underlying message of a parent who refuses to give up on their kid, even when every time the result is disappointment, is grounded in reality. It’s certainly no TRAINSPOTTING (1996) as far as depressing drug addiction stories, but the two leads make it watchable.

In theaters April 30, 2021

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Posted by David Ferguson

LIMBO (2021)

April 29, 2021

Greetings again from the darkness. Immigration is an important and hot topic these days, and it should be noted that most countries have challenges with people either trying to get in or trying to get out … and for some, it’s both. Writer-director Ben Sharrock offers a unique and creative look at refugees stuck on a nameless remote Scottish island, awaiting word on their UK asylum request.

Omar (Amir El-Masry, Tom Clancy’s “Jack Ryan” TV series) has escaped the war in Syria, and we learn much about him from listening in on calls to his mother from the only phone booth on the island. An acclaimed musician in Damascus, Omar lugs around his grandfather’s oud (“it’s like a guitar”). As proof of his homesickness, the bulky case never leaves his side, nor does he pull the instrument out to play – music is meant for joyous occasions. Omar shares a small house with three other refugees: Farhad (Vikash Bhai) from Afghanistan, Abedi (Kwabena Ansah) from Ghana, and Wasef (Ola Orebiyi) from Nigeria, with the latter two posing as brothers in hopes of improving their odds for asylum.

Omar is a sullen stone-face who absorbs the racist taunts from young locals (they ask if he makes bombs), and stands in contrast to the more outgoing and optimistic (and darn funny) Farhad. Not only does he idolize Freddie Mercury for “teaching” him English, Farhad, with his ever-present cigarette, also captures a chicken and keeps it as a pet. These refugees regularly attend a class entitled “Cultural Awareness 101”, meant to acclimate those from varying backgrounds to the local customs and culture. These segments are mined beautifully for comedic effect, while also giving us insight into all those involved. There are also references to Chet Baker, Donnie Osmond, and the TV series, “Friends”.

This is a terrific film, as well as an odd one. Many of the shots from cinematographer Nick Cooke are static and sparse in style, and though focused on the individuals, the camera also captures much of the isolation of the island. These visuals are stunning in both their simplicity and relevance. It’s a dramedy unafraid to be absurd in a moment, while also being enlightening. At times it has the feel of Wes Anderson without the color palette. We aren’t sure what is worse, the weather or the local postal service. Brutal cold envelops the newcomers, while the delivery route of a postal van (and the reactions of the refugees) is a comedic highlight. Even the local market, with its limited spice selection and directions for urination, draws laughter from us.

Despite the comedy, we never lose sight of these folks being stuck in purgatory. Maybe it’s not true camaraderie, but they seem to take some comfort in numbers as they wait. Omar is carrying guilt and feelings of inadequacy as he chose to leave while his older brother Nabil (Kais Nashif) remained in Syria to fight in the war. There is a wonderful “scene” that allows Omar to make peace with their contrasting decisions, and it leads him back to playing music. After all, “a musician who doesn’t play is dead”. The titular term of Limbo often means stuck, and there is also a game of persistence that uses that name, and both definitions work here. We are reminded that regardless of the various cultures, those in the immigration system have their own personal stories and burdens.

Opens in theaters on April 30, 2021

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Posted by David Ferguson

IN THE EARTH (2021)

April 29, 2021

Greetings again from the darkness. Have you ever wondered why they warned concert attendees to stay away from the brown acid at Woodstock? I can only speculate, but I assume the poor souls who consumed the taboo drug experienced hallucinations not dissimilar to watching this latest from writer-director Ben Wheatley. Filmmaker Wheatley previously delivered such interesting and diverse fare as the intriguing horror film KILL LIST (2011), the confusing and bizarre HIGH-RISE (2015), and my personal favorite of his, the quite funny and action-packed FREE FIRE (2016).

Martin Lowery (Joel Fry, YESTERDAY, 2019) is sent to track down a doctor whose research may provide desperately needed help in fighting a virus that has wreaked havoc on the human race. Martin himself has been in isolation for four months prior to this mission. He teams up with Alma (Ellora Torchia, MIDSOMMAR, 2019), a Park Ranger who works out of a Lodge that has been closed for a year due to the pandemic. She will act as his guide on the 2 day hike through the dense forest to find the doctor.

As you would expect, the hike doesn’t go smoothly, and things turn very weird and dangerous when Martin and Alma cross paths with Zach (Reece Shearsmith, HIGH-RISE, 2015). He’s the ex-husband of Dr. Wendle, the one Martin and Alma are in search of. However, Zach is off the grid and off his (proverbial) rocker. He converses with the forest, which might possibly be his most normal action.

Dr. Olivia Wendle (Hayley Squires, I, DANIEL BLAKE) is finally located, and though she and Martin know each other, she seems quite intent on finishing her research in the forest. Back at the Lodge, Alma had filled Martin in on a local folk tale … the Spirit of the Woods, named Parnag. Most just call it, “the thing in the woods.” Are we to believe nature is evil, or is nature just fighting back against humans?

Written by Wheatley last year, the film shows the effects of a pandemic on some people and how trying to solve things through science may fall short. Paranoia, distrust, dread, and isolation from others are all at play here – and quite in line with our current state. A supernatural element hovers, but the psychedelic images keep us disoriented, and seem to exist for the sole purpose of visual effects. The strobes are so strong they could trigger responses from sensitive viewers, and if they don’t, the gore likely will. Cinematographer Nick Gillespie and composer Clint Mansell are standouts here, and though Wheatley is to be commended for his quick work, the film didn’t really click for me. Perhaps the two best comparisons are THE HAPPENING (2008) and the far superior ANNIHILATION (2018).

In theaters April 30, 2021

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Posted by David Ferguson

THE VIRTUOSO (2021)

April 29, 2021

Greetings again from the darkness. It seems to this casual observer that once a person makes the career decision to become a hitman (or hitwoman or hitperson), their life expectancy drops significantly, as does their willingness to trust any person they meet, or at least it should. After all, the industry of killing is all about death … it’s simply a matter of whether (this time) you are the one doing the killing, or the one being killed. This neo-noir comes courtesy of writer-director Nick Stagliano (his first feature film in 10 years) and co-writer James C Wolf.

Anson Mount (so good in the “Hell on Wheels” TV series) is the titular Virtuoso. In typical noir fashion, he’s also our narrator, and serves up a detailed explanation of his approach to the profession. He’s methodical and meticulous in his precision and planning, and goes about his business in a professional manner, while maintaining a low profile and adhering to his own code. He even practices his facial expressions in the mirror preparing for the rare social interaction (it’s funnier than it sounds). He does jobs for The Mentor (newly crowned Oscar winner Anthony Hopkins), a former military friend of his dad. Their minimal communication usually involves a name on a scrap of paper. The first job we witness is a “rush” job and collateral damage leaves Virtuoso burdened with guilt – something that is not an asset in this line of work.

It’s the second job that takes up most of the run time. The Mentor provides only “White Rivers” as a hint to the identity of the target, and instructs him to be at the only diner in a place that barely exists as a town. Walking in, he sizes up those in the diner: The Waitress (Abbie Cornish, excellent as Fanny Brawne in BRIGHT STAR, 2009), The Loner (Eddie Marsan, “Ray Donovan”), Handsome Johnnie (Richard Brake), and Johnnie’s Girl (Diora Baird). A bit later, the local Deputy (David Morse) is added to the list of possible targets.

The set-up is fun, and meant to keep us striving to stay one step ahead. Chris Perfetti adds a touch of humor in his two quick scenes as the motel desk clerk, and much of the tete a tete comes courtesy of the Virtuoso and The Waitress. Of course as with most noirs, we viewers figure out what’s going on long before the hero, as the distractions are many. The budding romance offers up some seedy motel lovemaking, and the Virtuoso has an unusual living arrangement in his cabin in the woods. In other words, there are some excellent elements in play here, and it’s difficult to pinpoint why the film doesn’t play a bit better than it does. Mostly it just lacks the suspense delivered by the best in the genre.

Streaming on Digital, On Demand

& Limited Theatrical Release on April30th in Dallas

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Posted by David Ferguson

THE WHITE TIGER (2021, India)

April 26, 2021

Greetings again from the darkness. Writer-director Ramin Bahrani (the excellent 99 HOMES, 2014) adapted Aravind Adiga’s 2008 novel, and for his efforts, he was awarded an Oscar nomination for adapted screenplay. The honor is justified thanks to the complexity of the story, though we are never sure if this is satire of, or insight and enlightenment into India’s caste system. Either way, it hooks us early and never lets go.

Adarsh Gourav stars as Balram, and the story is structured via his narration of his own life story as outlined in a letter he drafts to Chinese Premier Wen Jiabao prior to his official visit to India in 2010. The timeline stretches from Balram’s youth to the time of the letter, when he describes himself as a Bangalore entrepreneur who rose from poverty to being a self-made man. We are there when Balram overhears the local powerbroker known as The Stork (Mahesh Manjrekar) mention that the family needs a second driver. The ambitious Balram borrows money from Granny (Kamlesh Gill) for driving lessons, and soon he’s at the gate talking his way into the job.

Balram is hired as the driver for The Stork’s son, Ashok (Rajkummar Rao) who has returned from his time in the U.S. with an American woman, Pinky (Priyanka Chopra Jonas) by his side. It’s bizarre to see Balram’s eager-to-please ways contrast with the western approach Ashok and Pinky apply. Whereas servants are usually treated poorly, mixed messages are received by Balram, who ends up sleeping in a parking garage storage room while his masters luxuriate in a Delhi penthouse.

A tragic event occurs leaving Balram betrayed by the family to which he’s displayed nothing but loyalty. The film even takes a wicked shot at the Oscar winning SLUMDOG MILLIONAIRE (2008), although the films do share some common themes. This film follows the plight of a servant, and takes a particularly close look at the ‘haves’ and the ‘have-nots’. Just how far can one be pushed before standing up or fighting back. Since the film starts where the story ends, we are prepared for the path, though the actual steps are stunning.

Filmmaker Bahrani floats dark comedic undertones, though it’s never really funny – in fact, most of the story is quite serious. Mr. Gourav excels in the lead role as he explains India’s social structure through big belly vs small belly. His journey takes him through multiple personality shifts – the poor villager busting rocks, the eager to impress new servant, the insightful young man who learns a harsh lesson, and finally, the “self-made” man, confident in his abilities and able to overlook his own actions that got him there.

available on Netflix

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Posted by David Ferguson

ABOUT ENDLESSNESS (2021, Sweden)

April 24, 2021

Greetings again from the darkness. A quarter-century once elapsed between feature films for Swedish filmmaker Roy Andersson. He only directed a handful of short films between “GILLIAP” (1975) and SONGS FROM THE SECOND FLOOR (2000). Mr. Andersson makes Terrence Malick look prolific. He’s certainly not a traditional filmmaker and this latest is not a typical movie. In fact, its highest and best use may be in a graduate Psychology or Philosophy class, so that the mental capacity of students can be stretched and tested to determine whether Andersson is celebrating life or bemoaning our existence.

The narrator begins most segments with something along the lines of: “I saw a man …”, “I saw a woman …”, “I saw parents …”, and “I saw a couple floating …”. These lead us into static one shot vignettes with little or no dialogue. For example, in the first segment, a woman on a park bench concludes with, “It’s September already.” There is a priest who makes a recurring appearance as one who has lost his faith. In another, parents have lost a son. The emphasis is on the artistic impression and one’s own interpretation.

Over the opening, and again later in the film, we see a couple floating over the ruins of Cologne. It’s Andersson’s take on Chagall’s 1918 painting, “Over the Town”. Another segment is a recreation of Hitler’s bunker in Kukryniksy’s 1946 painting, “The End”. These are simple, stark, low-key snapshots in time. The color palette seems to be off-gray, and the sun never shines in this world – there’s no tanned skin in the bunch. Andersson offers just enough moments of hope/happiness to prevent this from being 80 minutes of full-on depression. We always think he’s trying to tell us something, but can’t always decipher what the intended message is. Like the best art, it’s up to your interpretation, and surely dependent on individual perspective.

Release delayed due to COVID-19

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Posted by David Ferguson

ANOTHER ROUND (2021, Denmark)

April 24, 2021

Greetings again from the darkness. Oscar nominated for Best Foreign Language Film (Denmark), its director, Thomas Vinterberg was also nominated for Best Director. Mr. Vinterberg also directed the excellent 2012 film, THE HUNT, and this time out, he collaborates yet again with his co-writer and lead actor from that film: Tobias Lindholm and Mads Mikkelsen, respectively.

Mikkelsen (already one of the few must-watch actors) stars as Martin, a married man, father of two, and history teacher. His long-time friends include Tommy (Thomas Bo Larsen), a PE coach; Nikolaj (Magnus Millang) a Psychology instructor; and Peter (Lars Ranthe), the music teacher. The buddies are chatting over dinner as they celebrate Nikolaj’s 40th birthday, and they come to realize they are each floating through life – in a mid-life crisis of sorts, neither happy nor sad. It’s at this point where Norwegian Psychiatrist Finn Skarderud’s hypothesis is discussed. They agree to test Skarderud’s theory by maintaining a .05% Blood Alcohol Content (BAC), even while teaching.

Almost immediately, the men each feel mentally sharper, more engaged, and awakened to their lives. Martin re-connects with his wife, Anika (Maria Bonnevie), and becomes a history teacher that inspires students … quite a change from the complaints he had been receiving. The accomplishments of Hemingway and Churchill are discussed, as if alcoholics need role models. And then, to push a good thing even farther, the men decide if .05% works, why not take it to .10%? Well that’s what the men do, and of course, the results aren’t so great – ranging from upsetting to tragic.

Is it possible to re-discover a life that’s being wasted in self-pity or a state of numbness? Can alcohol jolt one back to life after the loss of youth and the reality of adult responsibility? Mid-life crisis has been addressed in many films, and alcohol is often part of the story … think SIDEWAYS (2004). We learn here that the Danish culture involves heavy drinking, and in Denmark, there is an extraordinarily high rate of teenage drinking.

The film is well acted, and Mikkelsen is terrific. Vinterberg dedicated the film to his daughter Ida, who was scheduled to appear in the film before dying in a car crash. He strategically includes Kierkegaard’s quote about life being lived forwards, but only understood backwards, and that truly is the crux of what the men are experiencing. The final scene is extraordinary and unexpected, as Mikkelsen wows with an interpretative and energetic dance to “What a Life” by Scarlet Pleasure. What a life, indeed. And perhaps there is hope after all.

Available on HULU

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Posted by David Ferguson

STREET GANG: HOW WE GOT TO SESAME STREET (2021, doc)

April 22, 2021

Greetings again from the darkness. Kermit the Frog. Bert and Ernie. Big Bird. Cookie Monster. Abby Cadabby. Grover. Oscar the Grouch. Guy Smiley. Mr. Snuffleupagus. Prairie Dawn. The Two-Headed Monster. Elmo. Count Von Count (The Count is my personal favorite). What a lineup of characters … each with their own personality and look, and every one designed to appeal to kids and help educate. It’s been more than 50 years since “Sesame Street” first hit the TV airwaves, and filmmaker Marilyn Agrelo (MAD HOT BALLROOM, 2005) uses Michael Davis’ book, “Street Gang: The Complete History of Sesame Street” as a guide to this personal peek behind the curtain, and a look at the folks who made the show such a success.

The four main drivers responsible for the show were Joan Ganz Cooney, Lloyd Morrisett, Jon Stone, and Jim Henson. Ms. Cooney and Mr. Morrisett co-founded the Children’s Television Workshop, which led to the research and funding necessary to kick off “Sesame Street”, the show. Ms. Cooney brought on Mr. Stone to develop and produce the programming, and of course, Mr. Henson, the creator of the Muppets and “Fraggle Rock” was the master puppeteer who was with the project from its inception in 1969.

The background information is quite interesting. Morrisett recalls hearing his 3 year old daughter singing beer jingles she had memorized from watching TV. He instinctively knew TV was making an impact and could be better utilized. Cooney talks about her initial business plan and how, at the time, a woman wasn’t going to be accepted as the face of an innovative program – risky for investors and networks. We also see many clips of Stone and Henson at work on set, and numerous people offer perspective on the creativity and effort that went into those early years. In fact, the film opens with a look at the 1981 New York City set as an episode is being filmed. Some of the cast members interviewed include Roscoe Ormon (Gordon), Sonia Manzano (Maria), and Bob McGrath (Bob).

With an early emphasis on providing educational programming for minority and inner city kids, we hear of Mississippi’s refusal to air the program due to minority cast members. The focus on 3 to 5 year olds was revolutionary at the time, and the societal benefits of injecting fun into learning was immense, though brilliantly, the creators made it interesting for adults as well. Filmmaker Agrelo has much to cover here, and does a nice job segmenting so that each piece of the Sesame Street puzzle is clear. The focus is on the early years (pre-Elmo). The dynamics of Frank Oz and Jim Henson as master puppeteers is a joy to behold, while Joe Raposo and Christopher Cerf offer perspective on the frantic pace to generate the music necessary for each episode … including the “lawsuit” involved with “Letter B”.

As with any educational efforts, but especially those with an entertainment push, addressing the difficult and uncomfortable issues is critical. We hear about the iconic segment where the characters deal with Mr. Hooper’s death in the 1980’s. Even today, it’s held up as the standard for helping kids deal with death. Jim Henson’s unexpected death at age 53 in 1990 is also discussed, and clips from that funeral will likely bring a tear to your eye. Big Bird singing Kermit’s signature song, “Bein’ Green” got to me. There is a bit on Carroll Spinney (Big Bird and Oscar), who passed away just over a year ago, and all of the key characters get their moment.

This is an HBO Documentary and Chicken Soup for the Soul production, and it’s an enlightening ‘behind-the-scenes’ look at the visionaries responsible for this groundbreaking, Emmy and Peabody award-winning show that probably saved public television. So my advice is to “Put down the Ducky” and give this documentary a watch. It’s sure to take you to where “the air is sweet.”

The film will be released in theaters on April 23, 2021 and On Demand on May 7, 2021

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Posted by David Ferguson

TINY TIM: KING FOR A DAY (2021, doc)

April 22, 2021

Greetings again from the darkness. I’m not sure how many people under age 50 even know who Tiny Tim was. Perhaps they recall a mention of his most popular song “Tiptoe Through the Tulips” in one of the Harry Potter books, or remember hearing the song in the 2010 horror film INSIDIOUS; but if they happen to recognize his name, I expect very few in that age group understand the cultural phenomenon that was Tiny Tim … albeit for a short period of time.

Filmmaker Johan von Sydow opens with a clip of Tiny Tim singing “I’ve Got You Babe”, a hit song for Sonny and Cher. It’s likely a jarring opening for those unfamiliar with him, but it captures his unique style and stage presence. Weird Al Yankovic is the narrator that guides us through the story, and there are interviews with Tiny Tim’s widow Susan, his daughter Tulip (yep),  and personality Wavy Gravy (best known for the WOODSTOCK movie), as well as friends, musicians, directors, and others who provide insight into the man and his life and career.

“Tiptoe through the Tulips” was actually a hit song from 1929, and Tiny Tim reinvented it as a novelty song – and we see the clip of him performing it in 1968 for a national audience on “Rowan and Martin’s Laugh-In”. Yankovic reads passages from Tiny Tim’s diary, and we gain perspective on what it’s like to go through life as a “freak”. From the diary we learn, “God told me to sing the sissy way”, and that was evidently his motivation for using the falsetto … allowing him to be billed as “The Human Canary” early on. His first album, “God Bless Tiny Tim”, was released in 1968, but it was the following year that caused the biggest splash. In December 1969, Tiny Tim married 17 year old Miss Vicki Budinger live on “The Tonight Show with Johnny Carson”, and 45 million viewers tuned in.

Born in New York as Herbert Butros Khaury, he was focused at an early age on being famous – on making an impact. Carrying a shopping bag on stage and pulling out a ukulele, Tiny Tim crafted a stage persona that took over his life. Of course the thing about fame is that it’s often fleeting. Director von Sydow pulls much of the story from the biography, “Eternal Troubadour: The Improbable Life of Tiny Tim”, by Justin Martell and Alanna Wray Mcdonald. Sure, there’s the photo by Diane Arbus, but there’s also the mob control and gigs with the traveling circus. In 1995, he married lifelong fan Susan Gardner. This was the year before his death, and we see the clips of his time on stage as he has a heart attack, and just prior to his final collapse a couple of months later. How can so much sadness come from a man who entertained so many? We are reminded of the song, “Tears of a Clown”, yet when one’s goal is fame, the piper must be paid.

Being released in theaters on April 23, 2021

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Posted by David Ferguson

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