2010 Oscar Picks/Winners

POST-OSCAR UPDATE. Well the Oscars are over, and what a snoozefest that was! Yes, the Oscars always drag, but the teaming of Anne Hathaway and James Franco was an absolute mess. Poor Annie sang, danced and grinned her way through with no help from Jimmy Boy, but she couldn't carry the show on her young inexperienced shoulders. Didn't you notice the energy in the Kodak Theatre and in your living room pick up when Billy Crystal came on stage? Alas, that was too brief a moment to savour! Who knew that Kirk Douglas, a Stroke survivor with a speech impediment would have stolen the show. Experience shows, people!

So, how did you do in your Oscar pool? As usual, I lost (see WINNERS below in RED). I will always go with my heart just in case the Academy voters do too, and a surprise happens. With 7 winners selected, Kirk Cooper of Film Market Access wins our pool.

Feb. 26th Post
Hope you had a chance to listen to last Saturday's TmTm to hear my guests and I select our Oscar Picks. If not, here are the list of my guests, Kirk Cooper, Heidy M., and cinephile, Moen Mohamed.

Here is a list of the Ten Nominated Films, and the Foreign Film category that we discussed during the hour.

Black Swan
The Fighter
Inception
The Kids Are All Right
The King's Speech
127 Hours
The Social Network
Toy Story 3
True Grit
Winter's Bone

OUR PICKS
HEIDY’S PICKS
Best Actor - Javier Bardem (BIUTIFUL)
Best Actress - Natalie Portman (BLACK SWAN)
Best Supporting Actor - Christian Bale (THE FIGHTER)
Best supporting Actress - Helena Bonham Carter (THE KING'S SPEECH)
Best Adapted Screenplay - Social Network
Best Screenplay - Inception
Cinematography - Inception / Black Swan
Best Director - Darren Aronofsky (BLACK SWAN)
Best Foreign Language Film - Incendies (DENIS VILLENEUVE)
Best Picture - Black Swan

KIRK’S PICKS
Best Actor - Colin Firth (THE KING'S SPEECH)
Best Actress - Natalie Portman (BLACK SWAN)
Best Supporting Actor - Christian Bale (THE FIGHTER)
Best Supporting Actress - Melissa Leo (THE FIGHTER)
Best Adapted Screenplay - Social Network
Best Screenplay - The King Speech
Cinematography - True Grit (Roger Deakins)
Best Director - Darren Aronofsky
Best Foreign Language Film - Incendies
Best Picture - King Speech


MOEN’S PICKS
Best Actor-Javier Bardem (BIUTIFUL)
Best Actress-Natalie Portman (BLACK SWAN)
Best Supporting Actor-Christian Bale (THE FIGHTER)
Best Supporting Actress-Haile Stanfield (TRUE GRIT)
Best Adapted Screenplay-The Social Network
Best Screenplay-The King’s Speech
Cinematography-Inception
Best Director-Daren Aronosfsky (BLACK SWAN)
Best Foreign Language Film-Incendies
Best Picture-Inception




donna g’s LIST
Best Actor-Javier Bardem (BIUTIFUL)
Best Actress-Jennifer Lawrence (WINTER'S BONE)
Best Supporting Actor-Christian Bale (THE FIGHTER)
Best Supporting Actress-Melissa Leo (THE FIGHTER)
Best Adapted Screenplay-(WINTER'S BONE)
Best Screenplay-Another Year (MIKE LEIGH)
Cinematography-Inception
Best Director- Darren Aronofsky (BLACK SWAN)
Best Foreign Language Film-Incendies
Best Picture-Winter’s Bone

Tune in to TmTm on Saturday, March 5th, 1-2pm on CIUT 89.5 FM to hear our post-Oscar discussion.

For a complete list of the nominees and other categories, please visit http://oscar.go.com/

You DO Know Jack: Jack Cardiff Retrospective at TIFF Bell Lightbox (until Feb 21)

JACK CARDIFF. More than likely you have seen at least one film photographed or directed by Jack Cardiff. The legendary cinematographer has worked such diverse pictures as the Bogart/Hepburn classic, The African Queen (screens Sat. Feb. 19th, 4:30 pm) and Sylvester Stallone’s Rambo 2. Admired by many cinematographers for his black and white photography and his innovative use of the Technicolor camera, Jack Cardiff, is the man behind the lens, the man often requested by top directors and box office stars.

I can’t think of a better place in Toronto to see his work than in a place called The Lightbox. Beginning February 13th and running until February 21st, you will have the opportunity (and please do take it!) to experience the world created by Jack Cardiff. It doesn’t matter in which order you see the films in the TIFF Bell Lightbox retrospective, but if you can only see one film then I suggest you see the Craig McCall’s documentary Cameraman: The Life & Work of Jack Cardiff, which features conversations with the cinematographer as well as clips from the many films he has worked on or directed.

To learn just how influential a photography talent Cardiff was (he recently died, by the way, at age 94), then you might want to attend In Person: John Bailey and Paul Sarossy (Wednesday, February 16th, 6:30pm) and listen to the award-winning cameramen talk about the impact of Cardiff on their respective works (demonstrated with film clips). Once you hear the talk you just might want to stick around that night and see the fine-art lighting compositions in Black Narcissus (screens at 9:00 pm). The film is so beautiful and told so well cinematographically that you could turn the sound off and still follow the emotional plot of the film.

Michael Powell and Emeric Pressburger’s A Matter of Life and Death (Feb. 17th, 6:30 pm) stars David Niven as a “dead” bomber pilot pleading his case to return to Earth (and love, Kim Hunter) against Afterlife authorities. The film is best known for its early Technicolor achievements (Cardiff was a pioneer in this field) and its use of black and white photography for scenes on Earth and colour for Heaven. Not an easy editing feat in those early days in England.

Whether or not ballet is your thing, if you recently saw the driven world of the dancer in Black Swan, or just love photography, you should see The Red Shoes (Feb. 20th, 6:00 pm-FREE!). It was so audacious in its day (1948) that the directors, Powell and Pressburger, (as well as Cardiff) never worked for their studio again, and their indie style that had been such a success was quashed. While the The Red Shoes did not do big box office in its day, it has gone on to become a favourite of many including Martin Scorsese, who was involved with the film’s restoration.

I am a huge fan of Ava Gardner. No one today smolders the way she did on screen. (If you can name an actress who does, please leave a comment to this post because I am stumped.) I credit Jack Cardiff for my love of Gardner, and you will too after you have seen her photographed in Joseph L. Mankiewicz, The Barefoot Contessa (Feb. 18th, 6:30 pm) and Albert Lewin’s Pandora and the Flying Dutchman (Feb. 19th, 7:00 pm). Garner’s Contessa is earthy, passionate, and naïve in The Barefoot Contessa, a tragic Cinderella/Hollywood insider film about a poor girl’s rise to stardom, her search for love and her inevitable death. (The film starts with a funeral, so I am not giving anything away.)

Cardiff’s trademark use of light and shadows on Gardner’s face is just as stunning as his earlier photography work on her in Dutchman (1949). Cardiff’s lighting of a moonlight scene in which Garner’s wet head and shoulders rises from the water to climb about James Mason’s yacht is shear sensuous magic.

Jack Cardiff Retrospective
Feb. 13th - 21st
TIFF Bell Lightbox
Reitman Square
350 King Street West (corner of King and John Streets)

Complete details and screening dates/times:
http://tiff.net/
416-599-TIFF (8433) or toll-free at 1-888-599-8433

Credits: Film stills some source material courtesy of http://www.tiff.net/

MODRA: It's All In the Family for Director, Ingrid Veninger

"It's Slovakia, asshole!" 17 year old Lina yells from her window at her departing ex-boyfriend, Tyler (who has confused Slovakia with Slovenia). So begins the Canadian teen flick with a difference called MODRA by writer, director, producer, Ingrid Veninger. Veninger is best known for her role as producer of the multiple-Genie Award noniminated, NURSE.FIGHTER.BOY by Charles Officer. I had a chance to interview Veninger about the film in which Lina, having been dumped by Tyler, impulsively asks a boy (Leco) from her school to accompany her on her vacation to Slovakia, where she will be reunited with family she hasn't seen since she was a child. Below is my interview with Veninger about this very personal film.

donna g: One of the things I admire about MODRA is the independent spirit behind it: your spirit. You wrote, directed, and produced a very personal film and then braved the waters to get the film seen. Once you knew that the Toronto International Film Festival (TIFF) had selected MODRA, how did you go about “selling” this Canadian film set in Slovakia distributors?

Ingrid Veninger: I took it one step at a time. If the reviews were bad – a sale would be unlikely anyway. So, I waited. When the reviews were good and we sold-out our screenings – I knew I had a chance at securing distribution. I had some interesting offers and meetings, which was fun. I was certain about two things: 1) I wanted a fair advance per territory. 2) I wanted to retain some rights. Hussain Amarshi from Mongrel Media came to see MODRA and we made a deal within 24 hours, for Canada. I am keeping US and foreign rights, for now.

donna g: Your daughter, Hallie Switzer stars in the film with Alexander Gammel. Hallie has to spend most of her screen time with whoever was cast in the role of Leco. How was Alexander cast? Did you hold auditions to see who had the best on screen chemistry with Hallie? Did she have casting approval for the role of Leco?

Ingrid Veninger: I did not audition anyone besides Alexander Gammal. A mutual friend, Alexandra Rockingham, asked me to meet with him as a favor, because he was looking to ‘get into acting’. I liked his combination of intensity and vulnerability. The role of ‘Leco’ didn’t actually exist in the script yet. I asked him to audition and then I did a screen test with Alexander and Hallie – there was chemistry. I remember having many conversations with Hallie about whether to cast him or not… she believed he could do it and that encouraged me to trust my gut. So, I offered him the part and started re-writing to custom make the script for the two of them.

donna g: How did Hallie feel about her on screen intimacy with Alexander given that you, her director, is also her mother and the soundman is her father (John Switzer)?

Ingrid Veninger: This is what Hallie says: It wasn’t always easy. Imagine being directed by your Mom. On the one hand, I trust her and she knows me well, but on the other hand it was hard. And, yes, my Dad was on set too recording all the sound. At first I thought, how am I supposed to act in this movie with both of my parents standing 4ft. away from me at all times? In the end, there wasn’t a lot of time to feel awkward or self-conscious because the days were busy and I just really wanted to do a good job.

donna g: The dialogue flows so naturally in the film. For example, Leco admits to Lina, “I like you, but I don’t know what to do.” Did you spend a lot of time with 17 year olds to get it just right? Did Hallie and Alexander improvise any of the dialogue?

Ingrid Veninger: After writing the full 90-page script, I rehearsed with Alexander and Hallie every weekend for three months. Well, I live with Hallie so her teenage voice was very familiar to me, but it took me a while to find the right tone for Alexander’s character. If any dialogue felt false in the rehearsals, I cut it, and re-wrote. During the shooting, things changed again. Some of the scenes that felt real during our rehearsals, rang false on location. So, sometimes I re-wrote scenes from scratch, or we would work through the dialogue on set together, or I would prompt them in different ways to create an unexpected moment. There were a few improvised lines that made the final cut of the film, but 90% of the dialogue was ultimately scripted.

donna g: I fell in love with the beautiful village of Modra, and really appreciated that most of the movie is set outdoors. How did you deal with the challenges of exterior shooting? By the way, thank you for the umbrella scenes—so romantic.

Ingrid Veninger: I’m glad you liked the umbrellas – that was an emotional day. We shot the montage sequence on my birthday, in Bratislava, where I was born. It was a bit surreal for me. Shooting exterior with the sun as our key light was definitely a challenge. The sun was always moving, which was tricky for continuous shooting. There was only one location in Modra, where we could shoot any night exteriors – that’s it – one option. But overall, we were extremely lucky, we had amazing co-operation on the weather front. With inconsistent weather, our shoot could have been a real disaster.

donna g: The word modra means “blue”: a beautiful colour that you capture so well on film, but the work also means “sad”. Could you touch on the political situation that is talked about in the film? The reason why your mother and so many other families left Slovakia.

Ingrid Veninger: My father was a political prisoner for 5 years in former Czechoslovakia, with many poets and artists and philosophers. In the first phase of the Russian invasion on August 21st, 1968, approximately 6000 tanks, 1500 aircraft and 200,000 soldiers simultaneously crossed the Polish, Hungarian, and East German borders into Czechoslovakia. Up to 600,000 troops eventually occupied Czechoslovakia, and the remaining Soviet soldiers did not depart the country until 1991. If my parents didn’t leave on August 21, 1968, my father would have ended up back in jail. I was 2-years-old when my parents left everything known and familiar behind. Their courage has inspired me my whole life.

donna g: I also fell in love with your 96 year old great aunt, Jozefa: her babushka, her wrinkled face, and her beautiful eyes behind her glasses present such a such a comforting image that I wanted to step into the movie and hug her. Could you describe the process of working with her?

Ingrid Veninger: Teta Josefa is my grandfather’s sister – my great aunt. Before shooting, I would explain the scene to her in Slovak – the actions. We always shot the rehearsals with her. I would prompt from off-camera i.e. “Ask Lina how old she is”, etc. Teta Josefa was amazing. Sometimes she would get concerned about my husband, John Switzer, having to hold the boom above his head for so long. Sometimes she got emotional repeating the entrances and exits, the hello and goodbye moments. But, she was a pro. And after the shoot, we would drink and laugh and eat and she would share the most incredible stories.

donna g: Your film has the perfect ending to this story of 17 year olds navigating the emotions of romantic relationships and pending adulthood. Did you waffle about how to end the film, or was this clear from its onset?

Ingrid Veninger: I had a different ending in the original script, but I scrapped it after the first week of shooting because I didn’t believe it anymore. Truthfully, I didn’t know what the ending would be. Everyday I would try to visualize, but nothing clear came up. I just had to trust that I would figure it out. On the last day, in the morning, I wrote the merry-go-round scene and I knew it was right.

donna g: Your family has traveled to Canada to attend the festivals where MODRA has screened. How many of them came? How did your Aunt Elena, who teaches English in the film, react to being in Canada? I bet she has lots to share with her students back in Slovakia.

Ingrid Veninger: Our world premiere at TIFF was unbelievable! I invited my entire Slovak family to come to Toronto, but only four of them could make it: My Aunt Marta and my three cousins. We had a Slovak posse – it was brilliant. Then, we had our International premiere at the Bratislava Film Festival in November. My mother, me, and Hallie – three generations of women. It was an emotional journey. I had never been ‘back home’ with my mother and she reunited with her brothers for the first time in fifteen years. Coming up: April 2011 is a screening in the village of Modra. We will show the film with Slovak sub-titles in the very cinema where my grandmother worked concessions as a young girl. And in Toronto, we are screening at The Royal where Hallie works concessions now. This whole experience has come full circle.

Ingrid's family pose for pictures in traditional costumes outside the Hyatt Regency Hotel during TIFF 2010.

MODRA (director, cast in attendance for Q & A after each screening)
February 11th - 17th
Royal Cinema
608 College Street
416-466-4400

View Schedule and Trailer: http://www.theroyal.to/films/modra/

Photo Credits: (Top) Director, Ingrid Veninger at the CFC's Black History Month Event: An Evening with Spike Lee. Snapped by donna g; Film stills by Ian Anderson, courtesy of Mongrel Media; (Bottom) Veninger family photo courtesy of Ingrid Veninger.

"The Agony and the Ecstasy of Phil Spector" Review: Grab the Popcorn!

The Mad Genius Speaks

Watching The Agony and the Ecstasy of Phil Spector the catchy phrase that will run though your mind is "mad genius". What else can you think of the man who compares his artistry as a producer to such notables as Michelangelo, Leonardo da Vinci, Bach etc? The thing is, he is an amazing producer, having been credited with inventing the "wall of sound" that distinguished the music he produced from the late 50s to early 70s from other sounds coming out of America. Many, including Brian Wilson, have tried and failed to copy or better his technique.

Did you know Spector wrote Spanish Harlem? I don't know about you, but whenever I think of that song I think of Ben E. King. To me Phil Spector was the guy behind girl groups like, The Crystals (Da Doo Ron Ron) and The Ronettes (Be My Baby). I'm not a huge Beatles fan so I wasn't aware of his work with Lennon, Harrison, nor his production of the Beatles Let it Be album. The scope of Phil's work cannot be summarized in one film, but this documentary does a wondeful job of showing why Spector was inducted into the Rock and Roll Hall of Fame. He deserves to be there because of his undeniable talent, even if he is an eccentric personality.

The documentary juxtaposes Spector talking about his career with Vikram Jayanti with footage of his trial for the murder of actress, Lana Clarkson. The style of the documentary suits the split personality of the producer-genius/alledged murderer. Linking the two view points is Spector's songs, played in length so that you understand the scope of his work and the ground-breaking impact of his lyrics. Reviews of his music is also captioned, which is both illuminating and annoying (at moments when you have to choose between reading the captions or listening to the dialogue). I almost envy Vikram Jayanti his interview with Spector. It must have been an amusing and captivating occasion for him.

The Agony and the Ecstasy of Phil Spector
by Vikram Jayanti
Run Time: 102 minutes
January 27th - Feb 2nd
TIFF Bell Lightbox (corner of King and John Streets)

Schedule and Info
http://tinyurl.com/5vjqvs4

ATTENBERG REVIEW: It's Greek to Me, and I Like It!

Attenberg begins with two young women kissing, but what you are seeing is not lesbian ardor, it’s sex education: the virgin heroine Marina (Ariane Labed)is being instructed in the art of French kissing by her sexually experienced friend Bella (Evangelia Randou).

There is sex and nudity in Attenberg (the town after which the film is named), but there is no passion, and the barren existence that Marina lives is reflected in the “ruins” of empty buildings in the dying factory town and by her father’s terminal illness. Marina’s relationship with her father (Vangelis Mourikis) is an open exchange of scholarly understanding and love; her relationship with a visiting engineer (Giorgos Lanthimos) is more academic interest than romantic love or even lust. Her friend Bella’s promiscuity never seems to be based on any true carnality, and Marina’s widowed father hasn’t had sex in a long time. A miasma of lifelessness hangs about the town.

At the core of writer/director Athina Rachel Tsangari’s film is the examination of human behaviour. She sets four principal characters against a backdrop of a vacant seaside town. Even the scenes are sparsely populated with most scenes depicting Marina and another principal character. Framing the town and the story are zoo-like elements: clips of Richard Attenborough's animal documentaries and the “silly walks”/animal mimicry antics. Our participation in the film comes from watching the characters in the "Attenborough-like" world created by Tsangari.

I saw Attenberg because I wanted to hear Greek. I grew up hearing my friends speaking it and I had been missing the language of my youth. The last Greek film I had seen was the epic, The Weeping Meadow, by Theodoros Angelopoulos (2004). I knew that Attenberg would be a much smaller picture and I wanted to see what filmmaker, Athina Rachel Tsangari had to bring to the screen. Well, I heard Greek and was pleased; and, the fresh, independent spirit of a filmmaker that has dared to bring her own unique vision to the screen satisfied my curiosity. I especially enjoyed the dialogue between the intellectual Marina and her learned architect father, Spyros.

Attenberg will not be to everybody's taste--it may be a little to quirky for some-- but it has garnered some awards, which will, no doubt, inspire more Greek filmmakers to take advantage of this window of opportunity. If their ideas are as individual as Tsangari’s, then Greek cinema promises to bring some excitement to the current play-it-safe cinematic landscape.

ATTENBERG
Jan 21st – Jan 27th
Royal Cinema
608 College St. West
416.466.4400

View schedule and trailer
http://www.theroyal.to/films/attenberg/

Released by filmswelike

Dear Oscar, Please Remember ANOTHER YEAR

Director/writer, Mike Leigh’s latest film, Another Year, is a flawless, understated gem, whose delicate beauty makes me wish I could whisper, “go see it!” in each of your ears instead of writing about it. I just don’t want the film to be over-hyped in a way that will detract from the simplicity of the story. Since I do want as many people as possible to go see this film , I will ask that when you do, that you leave any expectations of high drama at the door and prepare your senses for seasons filled with humour, pathos and reality.

Mike Leigh regulars, Jim Broadbent, Ruth Sheen, and Lesley Manville are the featured stars in the ensemble piece, Another Year. The story centers around Tom and Gerri (Broadbent and Sheen), a contented middle aged couple, their lonely, divorced friend, Mary (Manville), and their son Jack (Oliver Maltman). We follow these characters over the course of a year, watching the seasonal canvass change as Tom and Gerri cultivate their communal garden and welcome others into the warmth of their home.

Lesley Manville’s performance is so heartbreakingly spot on, you will feel embarrassed and protective of her, even as you laugh at her antics. Manville’s character, Mary, a woman in her fifties whose It Girl days have long passed, desperately wants to belong to Tom and Gerri’s home, so much so that she flirts inappropriately with Jack, whom she has known since he was ten (he’s now 30). But who wouldn’t want to sit at Tom and Gerri’s kitchen table with Tom at the stove and Gerri making a cuppa? They are that one couple that we all know who just seem to have the perfect familial chemistry. A couple who are not without joys or sorrows, but whom are too nice to incur our all out jealously, but of whom we can’t help but feel a twinge of envy. That’s why we can’t blame Mary completely for her feelings because we would have them too. So, when she goes too far we feel her pain and devastation, at the same time hoping that we would have the sense not to cross the barriers that her loneliness drives her to breach.

For all its serious emotions, Another Year is not entirely filled with despair. It’s this subtle balance of emotion that makes the film so exquisite. Mike Leigh continues to demonstrate that he is an exceptional craftsman when it comes to composing and directing improvised films that show the reality of every day life. You know that feeling you get when you pass a house and wonder what the people inside are like? Mike Leigh answers these questions brilliantly by choosing talented actors, setting them up in these "houses", and letting them say and do things that seem real. In actuality, these scenes are directed by a master who knows how to tell a good story, and who knows what other elements to bring to his screen fictions. For example, the beautiful score that supports rather than intrudes, and the lighting that enhances rather than infringes. For all of these reasons, I wish that you will give this film a chance and that the Academy of Motion Pictures Arts & Sciences will also remember it at Oscar time.

Mike Leigh has received four Academy Award nominations for original screenplay (Happy-Go-Lucky, Vera Drake, Topsy-Turvy and Secrets & Lies) and two for directing (Vera Drake and Secrets & Lies).

ANOTHER YEAR
Released January 14th (Mongrel Media)
Screens at Varsity Cinemas and Yonge-Sheppard

Photo Credits:
Mary (Lesley Manville). Photo by Simon Mein (c) Thin Man Films Ltd., Courtesy of Sony Pictures Classics.

Director Mike Leigh. Photo by Simon Mein (c) Thin Man Films Ltd., Courtesy of Sony Pictures Classics.

Hail the Queen: Joan Rivers: A Piece of Work

I first bragged about Joan Rivers: A Piece of Work on air in April of 2010 when I saw it at Hot Docs, and then in May 2010 when I saw it again at Inside Out. Well, here it is 2011 and I'm going to brag about this film again by reprinting my original review and my thoughts about the film now that it has been released on DVD.



The Film (original review from May 2010)
"This documentary is an honest portrait of perseverance and endurance. The title sums it up: Joan is a "piece of work" in the sense that she is different and edgy, and she is a work-a-holic. Her daughter, Melissa spells it out in the documentary when she says that all the comics she knows has a sense of insecurity that they never seem to lose no matter how famous they become. They all seem to long for the validation and attention they get from their audience. The film shows Joan stressing about empty calendar dates, working on her play, dealing with the business of being Joan Rivers, and, of course, doing her stand up. Her stand up is coarse, frank and extremely funny. This is the way she was back in her twenties, and this is how she continues to perform on stage in her seventies. Seeing her amidst the all-boys network at a George Carlin tribute, I couldn't help but wonder why, she has still not gained the accolades she deserves. She has paid her dues, and continues to do so, and dammit, I want more for her while she is still alive. I don't want to hear about her accomplishments after she dies. Let's hope this film will bring her the attention and and prestige she deserves." END

DVD REVIEW
It amazed me that I still laughed out loud while watching the DVD. After all, I had already seen it twice. I credit my laughter to the fact that Joan Rivers is an artist (I'm not talking about the fact that she paints, and has a jewllery line). Joan Rivers knows how to craft jokes. She is genuinely funny, but being funny in life can't sustain a career in comedy. You must have incredible comic timing or your jokes will fall flat. You also have to be able to write jokes, and Joan writes constantly. People forget that she used to write material for other comedians/talk show hosts before being on Carson launced her into the spotlight. She has also written several books. She has a files upon files of jokes on any given topic, and she still pracitices stand up at little night clubs in New York to test her material. You think you want to do comedy? Can you handle a heckler and still still deliver the material that people paid to see you do? Joan's a work-a-holic, so I don't expect you to keep her pace, but can you do even half as much work as she continues to do? If you can, tell me who you are and I'll come see you.

Don't pidgeon hole Joan Rivers because she fits into too many boxes. Take her audience for example: young, old, gay, straight, rich, poor. Everybody can relate to what she has been through: her joys (daughter Melissa and grandson, Cooper), her sorrows (husband Edgar committed suicide), her work ethic (she will play any where for the money). At 76, she is still "opening doors" for female comedians, and she has not abdicated her role as Queen of Comedy. As is mentioned in the film, someone will have to take that crown from her cold, dead hands. Good luck to them!

The DVD falls a little little flat when it comes to the Bonus Material, but the flaws are minor. Most of the Deleted Scences should have remained deleted, and did we really need to see the TV Spots for the movie? The Sundance Q & A sequence is the best of the Bonus Material because we get to hear directly from Joan. One gaping hole in the DVD is what became of a long time friend that Joan had to break with during the course of filming. It's the only time she cried in the film, and her pain was palpable. I don't know if it was too difficult for her to talk about further, but I thought the question of "What happened to So and So?" would have been included in the DVD. But you're going to buy the DVD for Joan and her candid revelations about her life, so if she omits one tidbit, that's more than okay by me. I love you Joan!

DVD Details
Entertainment One Presents
Joan Rivers: A Piece of Work
A Film By Ricki Stern & Annie Sundberg
85 minutes / Documentary
Documentary/Biography
14A – Coarse Language, Crude Content
84 Minutes
Release Date: Jan. 11, 2011

Trailerhttp://www.joanriversapieceofwork.com/