We open on Ebert, recently admitted to the hospital yet again as a result of cancer. His jaw, now removed, reduces his communication to a laptop, his hands, a notepad... We see the documentarian filmmaker (of Hoop Dreams fame) reflected in the hospital mirror. Roger gives him directions on how to make the film. He tells jokes, the room erupts in laughter. He smiles constantly despite the obvious pain he is in. It's a charming look at the final days of one of America's greatest critics.
The film chisels away at Ebert's childhood, his college years, first news stories, etc, all the while feeling like something I may find on a public television station. The narration (oftentimes in Ebert's own voice (I later learned this was a very effective voice-over artist)) lends insight to Ebert's early years at the Chicago Sun-Times, troubles with alcoholism, favorite Chicago bars... It's a very clunky introductory, and you feel the filmmaker's want to squeeze in as much biography as he can.
What many may not realize was that Ebert fell into movies only as a technicality. When the Sun-Times senior Film Critic retired, Ebert was volunteered to step in, and thus began the career of one of America's most trusted voices for the movies. We hear glimpses of his earlier reviews coupled with clips from the actual films (Bonnie & Clyde, anyone?). How they chose the movies they did to demonstrate his writing style is beyond me. From such an eclectic and impressive body of work, why we need to hear about "The Tree of Life" is a bit puzzling to say the least.
The fascinating story here is that of Ebert and his wife, Chaz, battling cancer and personal struggles. Learning to walk again, Ebert slowly climbs a staircase in physical therapy, an image that perhaps could come to represent the overarching theme of the entire movie. With literally half of his face missing and his voice silenced, the passion of this man to make his illness known in his final years was one of the most moving things I have ever seen.
I remember his interviews and news appearances, as well as his death. Why so many people were moved by the death of Roger Ebert is truly a puzzle. Of course, America best knew him of "Siskel & Ebert" fame (Siskel, also fleshed out through proper back story, was seemingly the catalyst to propel Ebert forward in life. He was also, perhaps, the brother he never had - all the more touching and beautiful in the film when we hear a letter Ebert wrote to Siskel's wife after his death). He was a man we all knew, and for those of us who loved the movies, he was our trusted advisor: a friend we could consult with when others told us that movies don't matter.
While I may find flaws with the technical execution of this movie, there's nothing I saw in "Life Itself" that ever made me doubt the power of filmmaking, itself. That's what Roger Ebert was a champion of, and through his death, perhaps many more will come to see the strength in his writing and the beauty in his views on life (movies and otherwise). Well worth your trip to the theater.
(Awards potential: Best Documentary)
