spalding gray – filmcentric

This is a filmed version of one of Spalding Gray’s famous stage monologues, which tend to involve him sitting behind a desk with his notes in an otherwise unadorned black box space. Of course director Steven Soderbergh has done his best to make this format more visual, with his full bag of tricks, but the origins and format of the show are still fairly clear. This, then, is a film that’s primarily about words, which makes sense because its subject matter is the loss of vision. It incorporates little spliced-in interviews with random people on the subject of eye health, and as a fair warning to those who aren’t expecting it, those stories can get pretty gruesome (the release also includes footage from Gray’s actual eye surgery, and it’s fair to say I won’t be watching that). This film, however, is certainly likeable, for it rests largely on Gray’s ability to tell a story, which by this point he is a master of doing, and as Gray is likeable so is the film.

NB: The Criterion Collection lists the date as 1997, although the film premiered at 1996’s Toronto International Film Festival so that’s the year I give here.

FILM REVIEW: Criterion Collection
Director Steven Soderbergh; Writers Spalding Gray and Renée Shafransky; Cinematographer Elliot Davis; Starring Spalding Gray; Length 79 minutes.

Seen at home (DVD), Melbourne, Saturday 18 February 2023.

Spalding Gray was an American literary raconteur primarily known for his monologues, with which he toured like any stand-up comedian, and which too were committed to film (the Criterion Collection has followed up this film with Gray’s Anatomy in its list of releases). This in certain respects is like those — it’s a film narrated entirely by Gray in clips from his monologues, interviews and other on-stage events — but instead it tries to tell the story of his life from beyond the grave (he committed suicide in 2004). It’s a way of a telling a life story without resorting to familiar stand-bys like the talking head interview or archival footage (written texts on screen, photos and the like), and makes this final testament to the man more like one of his own works, and that makes sense given the involvement of his widow and son (who does the music). It all zips by rather nicely, and gives you a sense of him as a public figure and hints towards himself as a private individual too, about some of the life issues he was going through (which always would be grist to his monologuing, but became more fractured as a source after his debilitating injury sustained on holiday in Ireland). It’s a work that’s evidently made with love, and that shows.

CRITERION EXTRAS:

There’s a nice little piece with interviews with producer (and Gray’s widow) Kathie Russo, as well as the film’s editor Susan Littenberg (for once not a pseudonym for the director and an actual person) and director Steven Soderbergh explaining the genesis of the idea and how the film came together. Nice to hear from them all about the project, and about the choices made in telling it. Turns out, for a man who chronicled his life and experiences for his art, there was plenty to choose from.

FILM REVIEW: Criterion Collection
Director Steven Soderbergh; Starring Spalding Gray; Length 89 minutes.

Seen at home (Blu-ray), Melbourne, Thursday 16 February 2023.