THE LONELIEST WHALE: THE SEARCH FOR 52 (doc, 2021)

July 8, 2021

Greetings again from the darkness. The old adage goes, “There’s someone for everyone.” Even for the outsiders and misfits. But what if there is only one? First heard by Navy research in 1989, “the Loneliest Whale in the World” has been named “52” due to his unique 52 Hertz call. He has never been seen and his song was last heard in 2003 … so there is no guarantee he’s still alive. Director Joshua Zemen has long been fascinated by the legend of 52 – a majestic creature assumed to be living in isolation since no other whales can hear his call.

It’s a sad story and one that caused a social frenzy as so many related their own stories of loneliness, proving yet again how humans connect with the animal kingdom. Whales have long played a role in the bible (Jonah) and in literature (Captain Ahab from “Moby Dick”), but 52’s unusual call was picked up thanks to the Navy’s Sound Surveillance System (SOSUS) which had been developed to track submarines during war time. It took the late Oceanographer Bill Watkins to recognize the call as biological, creating the origin of the legend and mystery. Watkins claimed we can hear more than we see in the ocean, and there’s much to learn from those sounds.

When the 52 Hertz call was once again heard, director Zemen secured funding for a 7-day excursion off the Santa Barbara coast with the goal of locating the whale. He assembled a team of Oceanographers, Biologists, and researchers – each knowledgeable and passionate. Zemen is the outsider of this group, and in the film’s only flaw, allows himself to be the focus a bit too often. Interspersed within the 7 day mission are history lessons regarding the hunting of whales, once commonplace. All of that changed with the 1970 best-selling record entitled, “Songs of the Humpback Whales”. Hearing their calls and singing led directly to the “Save the Whales” era – and the hunting and slaughtering was cut by 99 percent.

Director Zemen is having quite the year, as his excellent docuseries, “The Sons of Sam: A Descent into Darkness” was recently released. Here he works hard at instilling some entertainment into the science project by including the captain’s 52 Lost Love music tape featuring Pablo Cruise, and a quick segment with the quirky and brilliant Kate Micucci … plus a humorous moment informing us that single bunks are for one person. The film doesn’t get the “tied up with a bow” ending Zemen and the researchers might hope for, but the mystery shifts a bit, and we realize how much we’ve enjoyed spending time with these smart, caring folks. Leonardo DiCaprio donated $50,000 to the project and is listed as an Executive Producer for the film that offers some close-ups and details that are likely new to many of us.

Bleeker Street will release the film in theaters nationwide on July 9 and on Digital July 16.

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Posted by David Ferguson

THE PHANTOM (2021, doc)

July 1, 2021

Greetings again from the darkness. Will the real murdering Carlos please come forward? Unfortunately it’s too late for the other one. Store clerk Wanda Lopez was murdered in Corpus Christi, Texas one night in 1983. The recording of her 911 call is brief, but documents her identifying the assailant as Hispanic, and noting that he was brandishing a knife … the knife the man would use to take her life.

After a short manhunt, the Corpus Christi police found a shirtless 21 year old Carlos DeLuna hiding under a car. He was identified by eye witnesses and immediately arrested on suspicion of murder. From the beginning, DeLuna was adamant about his innocence and claimed he knew the actual murderer, Carlos Hernandez, DeLuna’s doppelganger.

Patrick Forbes is a documentarian whose previous topics included Brexit, the human heart, and WikiLeaks. This time he walks us through the steps of a criminal system that executed the wrong man. He uses interviews, archival footage, and documentation from the police reports and trial. We hear from the District Attorney, the defense attorney, Wanda Lopez’s attorney, and the eyewitnesses. The original Medical Examiner (ME) even reads aloud from his report. Forbes presents the facts of the case so that we understand how such a travesty occurred.

The evidence that convicted Carlos DeLuna was limited to the eyewitnesses and a wad of cash in his pocket. No fingerprints. No blood on his clothes. No DNA. Somehow this was enough to not just find him guilty, but also sentence him to death. DeLuna testified at his own trial and claimed under oath it was Carlos Hernandez – a man the Corpus Christi police were unable to find, despite his significant (and violent) criminal record.

We hear from the reporter who received correspondence from DeLuna while he was incarcerated. She recounts their exchanges and notes that she was a somewhat green reporter who had no real idea how to handle this. We also hear from the Chaplain who details the issues that occurred during the execution, and from DeLuna’s estranged brother who tried to assist. Mr. Forbes is efficient and precise in the structure of the documentary based on the Columbia Law School research paper, “Los Tocayos Carlos”. Is the criminal justice flawed or outright broken – for those wrongfully accused and convicted, the answer is simple.

Opening in theaters on July 2, 2021

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A&E Biography: KISStory (2021)

June 27, 2021

Biography: KISSTORY (2021, 2-part Documentary)

Greetings again from the darkness. Even for those who aren’t rock ‘n roll fans, there is a familiarity and curiosity about the band KISS and their fans, known as the KISS Army. It’s the face make-up, the outlandish costumes, the raucous concerts, the best-selling albums, and of course, that tongue. Director D.J. Viola, working in conjunction with A&E’s “Biography” series, has put together a comprehensive 2-part documentary billed as a backstage pass to the history and impact of the band.

KISS has been performing and recording for almost 50 years, and Volume One (as the first episode is titled) goes back even further, as we learn Gene Simmons was born in Israel and moved to the U.S. in 1958, while Paul Stanley was born in Queens. The two men met in 1970, and much of the time is spent with the two co-founders of the band recollecting those early years. Viola chronicles their memories with clips and photographs, as well as commentary from others. The band’s “End of the Road” tour, supposedly their farewell act, began in 2019 and has been suspended until August 2021 due to COVID.

The early formation of the band is a bit unusual, as Gene and Paul found drummer Peter Criss from an advertisement Criss put in the newspaper, and Ace Frehley answered the band’s “Village Voice” ad for a lead guitarist. 1973 brought the first KISS photograph, their earliest known recording, and the earliest concert footage. Their time in Electric Lady Studio, the same one used by Jimi Hendrix, is recalled with reverence, and we get to hear how the band was committed to being “big” on stage, and were influenced in their style by New York Dolls, Alice Cooper, and the idea of a full musical production on stage. It didn’t take long for smoking guitars, airborne drum sets, blood baths, and pyrotechnics to become inseparable from the music and these comic book heroes.

Each band member created their own makeup and character. For instance, Gene’s demon was supposedly influenced by “Phantom of the Opera”. Their new manager, Bill Aucoin recognized the potential and hooked them up with Neil Bogart’s Casablanca Records. By 1975, the band had their anthem, “Rock ‘n Roll All Nite”, and as Dave Grohl describes, their stage show was “ballistic”. Despite all of that, they were definitely a “people’s band, not a critics’ band”, and it took the huge success of their “Alive!” album to save the band and the record label. And what typically follows success?  Yes, turmoil. By 1982 both Criss and Frehley had left the band, due to drugs and creative differences.

Volume 2 of the two-part documentary focuses on the band’s ever-changing musical styles and various personnel changes at drummer and lead guitarist, as well as the rollercoaster ride of popularity and faded stardom followed by recapturing the magic. It’s difficult for a band to reinvent themselves once their look, style, music, and stage show have garnered such a loyal following. Disco, dance music, androgyny, and a rock opera didn’t work for the band or their fans, and Gene and Paul readily admit they spent some years floundering.

It was 1983 on MTV when the band first appeared without makeup, in yet another attempt to reinvent themselves. After the split with Criss, Frehley, and Aucoin, the next dozen years brought multiple lead guitarists, the tragic loss of one drummer to cancer, and even a delve into acting by Simmons. It was an appearance on “Unplugged” in 1995 that led to a huge reunion tour for the band, including KISS Convention – a traveling museum for fans. Predictably, the big bucks tour as not enough to stave off yet another band breakup. Gene and Paul were the leaders of the band, as they were the two that had stuck it out through good times and bad.

This is a band that has sold more than 100 million records and countless concert tickets over a five decade span. Self-destructive band members, an addict as a manager, and changing music tastes of the public were all obstacles that couldn’t ultimately stop the band. Peter Criss and Ace Frehley declined to participate in the making of this documentary, so we have to accept most of this is told from the viewpoint of co-founders Paul Stanley and Gene Simmons. Still, it’s been a fascinating journey for one of rock’s most unusual bands. If it truly ends after the farewell tour, their place in history is secure (2014 inductees into the Rock ‘n Roll Hall of Fame). Until then, “You wanted the best, you got the best. The hottest band in the world. KISS!”

The four hour, two-night event airs on A&E on Sunday, June 27 and Monday, June 28, 2021, from 9-11pm ET/PT.

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Posted by David Ferguson

MARY J BLIGE’S MY LIFE (2021, doc)

June 24, 2021

Greetings again from the darkness. The project began as a way to document the 25th anniversary of Mary J Blige’s enormously influential album “My Way” and her celebratory live performance to mark the milestone of the album. Vanessa Roth won an Oscar for Best Documentary Short Subject FREEHELD (2007), and as director of this film, she turned it into a profile of the woman behind the music, resulting in surprisingly effective life lessons for those in need.

As if to caution viewers that this is more than a concert film, we are five minutes in before director Roth allows us to hear Mary sing. We learn of her childhood in poverty living in the Yonkers projects, and how singing was her escape – a way to feel free. It was Sean “Diddy” Combs who discovered her for Uptown Records. Of course, Combs is now a hugely successful producer, musician, and entrepreneur, and he’s forthcoming in his recollections of those early years. “My Life” was Mary’s second album, and she’s credited with blending hip-hop and R&B and bringing a new music style to the masses. How successful has she been? Try 31 Grammy nominations (9 wins) and Two Oscar nominations (including one for acting).

Actress Taraji P Henson and multi-Grammy winning musician Alicia Keys both provide perspective on Mary’s influence, not just in the music world, but also in helping women believe in themselves. Mary J Blige has had emotional struggles, survived an abusive relationship, and overcome addictions to drugs and alcohol. Sharing her story and how she has persisted through the years turns this into a story of feelings, truth, and heart. The music is impressive and provides the platform, however, it’s the woman who shines through here.

Available exclusively on Amazon Prime Video on June 25, 2021

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Posted by David Ferguson

CHASING CHILDHOOD (2021, doc)

June 23, 2021

Greetings again from the darkness. Yours truly is of the age where childhood presented an abundance of freedom to play unsupervised outside, parenting years were filled with coaching and volunteering for the various structured kid activities, and grandparenting is comprised of waxing nostalgic for a simpler time when kids could be kids and parents weren’t so focused on their kids’ achievements and pursuit of perfection. Co-directors Margaret Munzer Loeb and Eden Wurmfeld dig into the evolution of parenting and the banishment of “free play”.

The topic is broached across diverse socio-economic classes in Wilton, Connecticut (a cluster of one-percenters), Patchogue, New York (a blue-collar, working class area), and Manhattan with its cross-section of race and class. The co-directors lean heavily on author and psychology researcher Peter Gray, who wrote “Free to Learn” and is considered an expert on “play”, and Lenore Skenazy, the founder of the “Let Grow” organization. Ms. Skenazy received worldwide attention when she allowed her 9-year old son to ride the New York subway alone. For that, she was labeled “America’s Worst Mom.”

Of course much of the societal shift can be associated with the concerns parents have of putting their kids in harm’s way. “Stranger Danger” and the faces of missing kids on milk cartons, as well as the tragic story of Adam Walsh in 1981 should all be factored in to the foundation of what we now call “helicopter parenting.” Instead of parents directing their kids to be home by dark, as the screen door slams behind them, the days and evenings and weekends of kids are structured and entered into the family calendar.

We hear directly from kids as they go through their daily commitments: sports, band, dance, tutoring, etc. Hanging out with friends is never mentioned. The film does a terrific job of detailing the consequences of this contemporary form of parenting. High stress and frazzled nerves for both kids and parents are commonplace. Free-play offers many opportunities for learning – especially the life skills that allow kids to grow into independent thinking adults, and hopefully, happy people. The film should resonate with parents, kids, and teachers, and this quote from the film will stick with many viewers (at least me): “All the worry in the world doesn’t prevent death. It prevents life.”

Abramorama will release the film via a virtual live world premiere event screening on June 24th followed by a nationwide Watch Now @ Home Cinema Release on June 25th. 

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Posted by David Ferguson

RITA MORENO: JUST A GIRL WHO DECIDED TO GO FOR IT (2021, doc)

June 17, 2021

Greetings again from the darkness. There she sits. Rita Moreno looks directly into the camera as she tells her own story. And what a story it is. She talks about the good times and bad. She recalls the challenges of being a Puerto Rican immigrant in a predominantly white industry. Documentarian Mariem Perez Riera understands there is no one who can tell Rita’s story better than Ms. Moreno herself, yet knows the story becomes even more powerful with the insight of others.

We get the background on her childhood, and what stands out is Rita’s admission that she was born to be a performer and danced professionally at age 6 (made her Broadway debut at age 13). It’s heart-breaking to hear her talk of breaking into movies, stating, there’s nobody “like me” up there. Forced to take “exotic” roles and speak with a heavy accent while wearing makeup “the color of mud”, Rita initially took every role she could. The prestige projects finally started to come: SINGIN’ IN THE RAIN (1952), THE KING AND I (1956), and yes, WEST SIDE STORY (1961). Her role as Anita in the latter won her an Oscar, which shockingly, did not lead to more quality film roles.

It’s stunning to find out that she went seven years without making a movie, but Rita is never shy about her personal life … which includes being raped by her agent, and having a 7 year affair with Marlon Brando that resulted in an abortion and a suicide attempt. Rita is matter-of-fact about the low points, and positively glowing about the good stuff: her work and music on “The Electric Company” (with Morgan Freeman) earned her a Grammy, her stage performance in “The Ritz” won her a Tony, and “The Muppet Show” and “The Rockford Files” won her Emmys. If you are keeping score, that places Rita Moreno in rarified air – she’s an EGOT.

Two of the film’s producers, Lin-Manuel Miranda and Norman Lear also provide their own perspective, as do Rita’s daughter, fellow EGOT Whoopi Goldberg, her WEST SIDE STORY co-star George Chikiris, Mitzi Gaynor, and other Latinos who pay their respects, including Eva Longoria, Gloria Estefan, and Hector Elizondo. This is a profile and tribute to a woman who turns 90 this year and is still hard at work. Some of her recent work includes playing a nun on “Oz”, being a regular on “One Day at a Time”, and an upcoming role in the Steven Spielberg remake of WEST SIDE STORY … now that is what’s called “Full Circle”!

The American Dream didn’t come easy for Rita Moreno, but her commitment to her profession took her to the top not just an as EGOT, but also her own star on the Hollywood Walk of Fame, a Kennedy Center Honor, and the Presidential Medal of Freedom. She’s an energetic woman with amazing talent, and director Mariem Perez Riera includes some of Moreno’s work on the Civil Rights Movement and political issues. The film is part of the American Masters series on PBS, and I’ll leave you with this: “Hey, you guys!” … watch this movie!

In theaters June 18, 2021

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RISE AGAIN: TULSA AND THE RED SUMMER (2021, doc)

June 17, 2021

Greetings again from the darkness. It’s inexplicable how so much hate-based violence was ignored by the mainstream media for so long. Documentarian Dawn Porter is here to correct some of that. The film opens as a backhoe breaks ground in search of a mass grave site in Tulsa. If you watch or read the news, you have seen the current day reporting of the 100 year old massacre that occurred in 1921 in Greenwood, the “Black Wall Street” area of Tulsa. Over two days, an angry white mob killed hundreds of blacks, destroyed buildings and homes, looted valuables, and displaced thousands.

Details of the Tulsa massacre have finally been brought to light, but Ms. Porter, working in conjunction with “Washington Post” reporter DeNeen Brown, also pulls back the cloak of secrecy on how the Red Summer actually began in 1919 with tragic and violent events that led up to Tulsa. These events occurred in East St Louis, Omaha, Washington DC, and Chicago. We learn that Elaine, Arkansas still refuses to search for what might be one of the largest mass grave sites in U.S. history. Of course, the connection to the modern era is easily traced to the 1992 Los Angeles riots and too many other events to list here.

The film is well-researched and well-documented. Reporter Brown acknowledges picking up the torch left by Ida B Wells, whose courageous reporting and research were instrumental in leading to these stories getting published – even if it’s decades later than it should have been. Historians and academic leaders are given a platform to discuss how the media previously ignored these stories, and the 1990s interviews with survivors of the Tulsa massacre are especially poignant.

Tulsa’s mayor, GT Bynum, and Reverend Dr Robert Turner, are both working in their own way to find justice for those impacted. Bynum’s directive for mass graves is: location, excavation, and identification, so that names will be known. Turner is pushing for reparations as the main form of justice. The talk of reparations and the importance of the Black Press are provided substantial emphasis in the film, and the inclusion of D.W. Griffith’s racist 1915 film, THE BIRTH OF A NATION, allows for familiar and distinctive visuals to reinforce the points being made. The old saying is that there are two sides to every story, but in this case, the hatred on one side deserves no attention, while the stifling of the victims’ stories has gone on for too long. Dawn Porter’s film ensures the story doesn’t remain buried.

Premieres on NatGeo and Hulu on June 18, 2021

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Posted by David Ferguson

THE SPARKS BROTHERS (2021, doc)

June 17, 2021

Greetings again from the darkness. Over the past 5 decades, the number of bands that have broken up is, well, almost all of them. For two brothers to write songs and perform together over that span, and still be at it in their 70’s is remarkable. Sparks is made up of Ron Mael and younger brother Russell. They’ve published 25 albums with 300 songs, and performed thousands of concerts. Somehow they still like each other, respect each other, and work well together. As unusual as their music is and as strange as their stage show can be, it seems only fitting that their cinematic profile would be directed by Edgar Wright, who is best known for SHAUN OF THE DEAD (2002) and BABY DRIVER (2017). This is his first documentary.

Mr. Wright establishes the necessary unconventional start by having Sparks perform the opening credits. Not a song to open the film, but rather they actually perform the opening credits. We are then introduced to Ron and Russell, and we get some childhood family photos and an explanation about how their artist father taking them to the movies would later influence their work. And other than learning that Ron has a massive snow globe collection, that’s the end of the insight into their personal lives. Normally that would be a mistake, but there is nothing normal about Sparks.

Instead of personal profiles, director Wright opts for a chronological discography – a walk through the band’s timeline of recordings. Each step is punctuated with insight from fellow musicians or celebrities, and clips of the band performing their music from each era. The interviews are filmed in black & white so that the color of the stage performances really pop on screen. Some of those interviewed include producer Todd Rundgren, Jane Wiedlin (The Go-Go’s), Flea (Red Hot Chili Peppers), Pamela Des Barres (a musician and, umm, certain other skills), and other musicians who played with Sparks over the years.

Often thought of as a novelty act, Sparks music and shows are filled with humor, but are not a joke. The two brothers have stayed committed to the music and the performances. To cover an extended gap in their career, director Wright utilizes 6 years of “Dick Clark’s Rockin’ New Year’s Eve”, but more impactful is finding out that they worked on the music every day during those 6 years. The Mael brothers define persistence. The brothers’ desire to break into film music fizzled a couple of times due to Jacques Tati and Tim Burton, but they do appear in the 1977 thriller ROLLERCOASTER.

Songwriter Ron is the brother with the Hitler/Chaplin mustache, while singer Russell was the matinee idol in the early years. They are referred to as the “Best British group to come out of America”, and their musical influence can be traced to many more popular bands. A collaboration with Franz Ferdinand pushed their creativity, but it’s an outlandish 21 shows in a row, each featuring a different album performed live that may best define their love of music and performance (and stamina). So while Mr. Wright offers zip in regards to their personal lives, the abundance of live performance clips and the quite funny Sparks “Facts” over the closing credits make this a documentary worth watching (even with its 140 minute run time).

In theaters June 18, 2021

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MY NAME IS BULGER (2021, doc)

June 17, 2021

Greetings again from the darkness. Even those of us who aren’t “Southies” know the name James “Whitey” Bulger. Johnny Depp portrayed him in BLACK MASS (2015) and Jack Nicholson’s character was inspired by him in THE DEPARTED (2006). Of course, that’s just cinema taking the legend and running with it. In the real world, we recall seeing the televised clips of the FBI capturing Bulger in California in 2011, after 16 years on the lam and being a fixture on the FBI’s Most Wanted list … and then seeing the reports of his being beaten to death at age 89 in a West Virginia prison mere hours after his transfer. Very suspicious – but who weeps for the mobster? Well, documentarian Brendan J Byrne offers some insight. It turns out, even mobsters have brothers and sisters and kin folk.

It’s the family … one brother in particular … that is the focus of this documentary. Whitey’s younger brother Bill, was the President of the Massachusetts Senate for 18 years, after which he became President of the University of Massachusetts. To hear multiple people, including two former Governors describe Bill Bulger as principled and smart is a bit disconcerting. Is it possible for one family to have a brother so devoted to public service and another brother who is a criminal mastermind that murders people? It’s beyond debate that Bill Bulger was an enormously popular politician. However, the question remains – and will likely never be answered – is whether Bill was able to keep his political decisions separate from his brother.

The film begins with a family photo and we learn the faces and names of the Bulger clan, some who are interviewed in this film. When family loyalty is discussed, one says it shouldn’t be tossed aside because one falters. Most of us would likely consider Whitey’s criminal record as more extreme than a misstep or faltering, but the point is one to which most of us can relate.

Bill Bulger, now 87 years old, and his wife Mary have been married for more than 60 years. They have 9 children and 33 grandchildren. Many of the kids participated in the film hoping to salvage the family legacy created by Bill as opposed to the more headline-grabbing exploits of Whitey, described as “just another Uncle”. In addition to family members, interviews are conducted with Catherine Greig, Whitey’s longtime partner (she was captured with him in California, and served her own prison sentence), a juror from Whitey’s trial, a journalist and author – where the difference between Bill and Whitey is described as visible versus invisible, and former Massachusetts Governors Michael Dukakis and Bill Weld, both of whom had their own candidacies for President of the United States. These two men speak highly of Bill’s character and political astuteness, despite his ongoing rivalry with “The Boston Globe”.

Bill is now retired and living a quiet life. There are still those in the family who claim his brother Whitey is “not the monster he was made out to be”, although Bill’s public statements seem to infer otherwise. Whitey’s former Winter Hill Gang members were shocked at allegations that he had been an FBI informant, and the “Where’s Whitey” manhunt is one that will likely be studied for years to come. Filmmaker Byrne does seem to have success in making the case that South Boston loyalty can co-exist with a family split by the polarized work of two members – brothers Bill and Whitey. It’s quite fascinating to see how these contrasting elements fit together.

Exclusively on Discover+ beginning June 17, 2021

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LADY BOSS: THE JACKIE COLLINS STORY (2021, doc)

June 11, 2021

Tribeca Film Festival 2021

Greetings again from the darkness. What’s it like to grow up in the shadow of a successful older sibling? What if that sibling is the famous actress Joan Collins? Documentarian Laura Fairrie profiles Joan’s younger sister, Jackie, who overcame challenges to become one of the few novelists to sell more than 500 million books, with 32 New York Times best-sellers. But Jackie’s impact isn’t limited to book sales, as her work empowered women in society and in the bedroom.

Jackie wasn’t always known for her big hair and leopard prints and risqué writing. In fact, she wasn’t known at all before she visited Los Angeles for the first time in 1956, during which she was referred to as Joan’s little sister. Ms. Fairrie spends some time with Jackie’s childhood and family life, and then takes us through both of her marriages, the career, and her illness. Much of the source work is provided from Jackie’s lifelong habit of writing in her diaries, and although much of what is read doesn’t dig too deeply into Jackie’s psyche, we do get the gist of her focus on observing people and turning those observations into stories that millions loved to read.

In addition to the diaries, there are interviews with Jackie’s daughters, her brother, her long time literary agent, her business manager, her personal assistant, and her sister Joan. Some of her (“best”) friends also offer insight, including Barbara Davis, widow of oil man and former owner of 20th Century Fox, Marvin Davis. Some segments feature these folks reading passages directly from Jackie’s books, but it’s their personal recollections that come closest to adding substance.

Therein lies the biggest hurdle with the film. It succeeds in tracking Jackie’s rise to the top as an author, but it doesn’t go deep enough into her books’ influence on society, and we get even less about Jackie’s personal makeup. She was a woman succeeding in a man’s world, and she carefully crafted and cultivated a public image that included plastic surgery, so that what they read is what they see. One of her daughters states there were “two sides to this mom”, but even that doesn’t result in the breakthrough we hope for.

Husband number 2, Oscar Lerman, encouraged Jackie to write her first book, “The World is Full of Married Men”, and that was the start of an incredible writing career. Sister Joan’s interviews are in line with the rest of the film in never going too deep, but she does make the comparison of “a marriage” to her relationship with Jackie, and maybe the best insight is the difference in how Joan describes their father to how Jackie’s diary entries do. By assembling the bits and pieces we do understand Jackie had significant insecurities behind her public façade.

Clearly there were times a sisterly rivalry was in play, and that’s somewhat offset by the fact that Joan starred in two movies based on books written by sister Jackie (“The Stud” and “The Bitch”). In the 1980’s Joan’s career got a huge boost playing Alexis in “Dynasty”, while at the same time, Jackie was enjoying the success of one of her biggest sellers, “Hollywood Wives”. As a ground-breaking author, Jackie Collins deserves this documentary profile, and towards the conclusion, there is a segment where she faces a live audience in a televised talk show sometime in the 1990’s. The audience is vicious in their attacks on Jackie’s writing, but she remains strong in the face of adversity … a trait that was every bit as important as her book sales.

The film had its World Premiere at Tribeca Film Festival and will air on CNN Films in late June and on BBC Two and BBC iPlayer later this year.

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