Life Itself (2014) Magnolia/Documentary RT: 120 minutes Rated R (language, brief nudity/sexual images) Director: Steve James Music: Joshua Abrams Cinematography: Dana Kupper Release date: July 4, 2014 (US) Cast: Roger Ebert, Martin Scorsese, Werner Herzog, Chaz Ebert, Errol Morris, Ava DuVernay, Ramin Bahrani, A.O. Scott, Richard Corliss, Marlene Iglitzen, Stephen Stanton (voice of Roger Ebert), Gene Siskel (archive footage).
Rating: ****
Dear esteemed members of the Academy of Motion Picture Arts and Sciences,
I’d like to humbly suggest that you hand over the Best Documentary Oscar to Steve James for Life Itself, a brilliant and beautiful look at the life of film critic Roger Ebert. It’s unlikely that any other documentary will come close to achieving what James does with his movie. By way of supporting my argument, I’ve attached my review of the film. Here it is, for your consideration.
Sincerely, George Rother aka Movie Guy 24/7
I’m seriously considering sending this off to the Academy upon publication. I don’t know what weight my words will carry, but if there’s any justice in the world, Life Itself will walk off the golden statuette on Oscar night.
Roger Ebert, film critic for the Chicago Sun-Times, was (and still is) one of the most influential people in my life. I was first introduced to him and his partner Gene Siskel on their popular weekly program Sneak Previews (Thursday nights, 9pm, PBS). I also had the pleasure of meeting him in person at a book signing in ’98. Through the years, I’ve immensely enjoyed reading his reviews, especially the bad ones. I was saddened when I first learned he was sick with cancer and mourned when he lost that battle in April of last year. I felt as though I lost a good friend and movie companion.
When the end came near, Ebert invited James (Hoop Dreams) into his hospital room for an intimate look at the man behind the reviews. Based on his 2011 memoir, Life Itself is at once beautiful, compelling and moving. In the space of two hours, James gives us an overview of Ebert’s brilliant career and not-always-perfect life. We also get to spend time with the critic during his sad last days, robbed of his voice by throat cancer and communicating by way of a computer-generated voice on his laptop. The sight of Ebert without his lower jaw is shocking and saddening.
Ebert’s journalism career began in his teen years when he covered sports for a local paper in Urbana, Illinois. He became the film critic for the Sun-Times in 1967, a position he held until his death. One of the defining moments of his early career was seeing the Russ Meyer movie Faster Pussycat! Kill! Kill! at a local theater. It led to an appreciation of Meyer’s work and co-writing the screenplay for Beyond the Valley of the Dolls (1970), now regarded as a cult classic (I still have my signed VHS copy).
For me, the most fascinating part of Life Itself is his contentious relationship with Siskel, film critic for the more prestigious Chicago Tribune. On their show, they often disagreed and many times found themselves at each other’s throats. They had a memorable dispute over Benji the Hunted (1987) of all movies. We get to see outtakes from their show where they would trade insults between takes. It’s a known fact the two men couldn’t stand each other, professionally and personally. They did develop a respect for one another near the end of Siskel’s life (he died of brain cancer in ’99). According to Siskel’s widow, they sort of became friends.
We get to know Ebert intimately through archival footage, old photos and interviews with family, friends and associates. His wife Chaz talks about how they first met at an AA meeting (Ebert got sober in ’79 and stayed that way) and their love-filled marriage. We often see her sitting right by him as he types away in his hospital bed. Her love and devotion for her husband is palpable. We hear from such esteemed filmmakers as Scorsese (Goodfellas) and Herzog (Aguirre, the Wrath of God) as well as new talents like Bahrani (Man Push Cart) and DuVernay (I Will Follow) who recounts first meeting him as a little girl. James includes clips from movies like Bonnie and Clyde, Cries and Whispers and (of course) Beyond the Valley of the Dolls.
It’s already fascinating, but Life Itself becomes poignant when the scene shifts back to the ailing critic. We even get to hear about his final hours when he made the decision to stop fighting and accept the inevitable. I really feel like I got to know Ebert which is a testament to the effectiveness of Life Itself. I owe the man a huge debt of gratitude as he contributed a great deal to my lifelong love of film. I’ve always had the highest respect for Ebert; he’s actually my main role model. It’s because of him that I became a film critic.
My personal feelings for Ebert are a big part of why I love Life Itself so much. But even without that, I’d still love this movie simply because it’s very well done. It’s apparent James also loves Ebert and why not, the critic spoke glowingly of his first effort, the high school basketball doc Hoop Dreams. Documentary filmmaker Morris (The Thin Blue Line) tells how Ebert brought his 1978 movies Gates of Heaven to the public’s attention by speaking about it on three separate shows. Life Itself serves as both an examination of one’s man life and a tribute to the most prominent film critic of the late 20th century. It’s beyond excellent and outstanding, it’s perfect! It’s an absolute and total must-see for film lovers.
I’d like to close with a quote from Ebert in which he says, “I was born inside the movie of my life. I don’t remember how I got into the movie, but it continues to entertain me.” You certainly kept me (and many others I’m sure) entertained, Roger. God speed, sir.
