Joan Rivers: A Piece of Work

I was surprised of the movie not being recognized by the Academy of Documentary. I guess they don't want anything to do with Joan Rivers, and that's the whole point of the documentary. The doc started out with Joan Rivers' lowpoint of her career (when she's already 70 years old), and it progresses with Rivers working her way up again. The film demonstrates how the once comedic icon and well known star turned into "a piece of work". With her comedic talents blending with her sad emotions, Joan Rivers: A Piece of Work is a snub that the Academy missed out on. OscarBuzz: NONE, that's the point! The Academy is missing out a a great film that shows the love for Joan Rivers and her career. She may be the one 70 year-old that still loves and wants to do her job.

In Ricki Stern and Anne Sundberg's documentary Joan Rivers: A Piece of Work, we get an up close and personal behind one of the hardest working woman in show-business. From her youthful aspirations to become an actress, we find out that comedy wasn't always priority number one on Joan's list. Comedy was a way to support her acting career. She later notes that you can make fun of her comedy career all you want, but leave her acting abilities alone. She even suggests that she is an actress playing a comedienne.

Following a successful appearance on The Tonight Show with Johnny Carson, her career was and her "industry" was set in stone. There was no turning back. From performing her act in Vegas and her hosting of The Tonight Show for Johnny on numerous occasions. Her comedy was (and is) in your face. If a joke is thought to be too edgy, she knows she hit her mark.

I'll let you fill in the rest when you see the movie, but this isn't about where Joan has gone or the accomplishments she has achieved. It's about who Joan is today, how she is constantly looking to reinvent herself and stay fresh. Her unbridled enthusiasm for performing and staying busy. Her commitment to family and helping others.

In the film, we see Joan talking on the phone, looking for an endorsement deal. She says she'll speak for anything, including adult diapers and male enhancement drugs. She's not a sell out, but is willing to thrust herself upon the masses in order to get noticed. Through much of the film we see her working on a stage play, a sort of autobiographical play where she delves into what it's like to be Joan. Her concern isn't about whether or not people will like her, but whether or not they will accept her back into the mainstream. She is well aware that people view her as the poster child for plastic surgery. She is well aware that her age (75) is something that can hurt her to land a job. Does that stop her? It only strengthens her desire to succeed.

While some people will view this movie as a cry for attention, and I can see how they would feel this way. Joan lives a life of luxury, in a posh, elegant, and expensive apartment in New York City. Her need to live luxuriously and with all of the plastic surgery stems from her past where she never felt nor was never told she was beautiful. She needs this things in order to feel pretty, to feel like there is a reason to wake up.

That is not what this film is about. We are not meant to feel bad for someone who doesn't feel pretty. We are meant to see a woman who gives her all for her fans, whom she adores, and her family, that she cares for tremendously, especially her daughter and grandson. There is a brief moment where she sits down to write out a stack of checks, both for herself and also to others, like family members who attend private school and whatnot. She doesn't bat an eye at this stack, but breezes through them because she knows they must be paid for.

Her comedy might not be your cup of tea, but I think we can all learn something from this relentless woman. A life devoted to work and to family. What a piece of work. It's a shame that this film was left off the short list for Best Documentary for the Oscars. I hope you will all see it nonetheless.

After seeing the trailer, my expectations were moderately high. The movie far exceeds them. It is screamingly funny (Joan Rivers is screamingly funny) and poignant as well. I am partial to people who have a passion and work their hearts out; Joan Rivers exemplifies this. As a writer who's seen ups and downs, I found her up-and-down trajectory inspirational. The humor is often raunchy and always hilarious. Because she cannot do her best jokes on television, I found the movie broadened my perspective on what she is able to do (a lot!). If you've ever liked her jokes, definitely go see this movie. While it's true that the film maker could have dug a bit deeper into some of the darker subjects, I think that would have drastically changed the amazing balance between comedy and seriousness for the worse. A lot is conveyed without belaboring the difficult issues. Although Joan Rivers was virtually in every frame (a few exceptions where some people spoke about her), I never tired of seeing and, especially, hearing her. She has a store of funny and the ability to tap into it, whatever else is happening.

There are two laughs in this documentary about funny-girl Joan Rivers. The Michelle Obama joke and I can't remember the other. Somewhere between self absorbed pity fuel-ling a license to insult and a need to please is this quite wonderful witty woman who can't spell vagina but makes jokes about them. At 75 an looking like Barbie's grandma, Rivers verbal avalanche of scattergun jokes makes you yearn for the days of Harpo Marx and maybe then Groucho if you need to hear a joke later. She is like the unofficial rat pack gal sidekick of the 50s and 60s who hasn't yet realized the rat pack days and the Las Vegas laminex table comedy they thought was luxury showbiz is all sooooo last Century. She lives well as displayed in a hilarious tacky Manhattan apartment that looks like an explosion on the set of the 1936 ROMEO AND JULIET set at MGM, she signs a dozen checks with which she buys an image of generosity, she does meals on wheels and in the film's one truly moving moment pays tribute to Florence Fox, an innovative NY photographer now almost destitute. Maybe Joan could also slip her a few checks. I'd like to have seen Joan meet Mimi Weddell the NY fashionista who died in 2009 aged 94 and still going to auditions. Rivers really is not funny. She knows too that yelling obscenities is as passé as Don Rickles doing stand up at 88. Somehow she is interesting no matter how hard she tries to prove how awful-funny she can be. A PIECE OF WORK is getting a good National release in Australia and the audience at a session I went to laughed occasionally. As we filed out most muttered how glad it wasn't one of her shows we are at since she really would have been in front of us. It was better she was just an image on a screen. I feel mean for writing some unpleasant reactions about her.. but it could be worse, I could make fun of her. Or is that what she prefers since it is what she does to everyone else including herself.....Basically it makes you yearn for Carol Channing or Lily Tomlin who really are funny and probably can spell vagina but do not need to.

The problem I usually have with documentaries is that, while I find them enlightening, I rarely connect to them on an emotional level. My intellect is stimulated, but I don't usually feel anything. The last documentary that made me feel anything was "Sicko." "Joan Rivers: A Piece of Work" succeeds in the same way. Here's a woman who is a bit of a joke and an easy Hollywood punching bag. But she shows herself to be quite a complex individual. She's of course funny and a workaholic. She's also quite vulnerable and doesn't take criticism well at all. At times, she's quite likable and very sympathetic. Other times, she seems twisted and self-absorbed. I suppose the real Rivers is a little of both. She's also a joy to spend 90 minutes in a theater with, should the opportunity present itself to you.

The film opens with a shot that tells you everything you need to know about this film and its intentions. The shot is an extreme close-up of Rivers without any makeup on. For someone so presumably consumed with her looks, this is a surprising image that tells you this film is going to show you the real Rivers. Like her or not (and many won't), this is her.

The rest of the film is loosely broken up into three sections. The first introduces us to the woman and follows Rivers as she develops an autobiographical play and performs it in the UK. The second follows her during her time on "The Celebrity Apprentice." And the final one shows her on the road across America doing comedy shows. Interspersed with these segments are sidebars about Rivers' past—her marriage, her time with Johnny Carson on "The Tonight Show," her relationship with her daughter Melissa, and her annual Thanksgiving charity work.

The two biggest things I took away from the film are that Rivers is obsessive (desperate?) about working and that she is incredibly insecure—perhaps the two complement each other. At one point, she is trying to book a commercial. She tells the ad agency's representative that she'll wear diapers, anything, to land a gig. After seeing this film, I believe she would. She's also incredibly self-doubting. When her play opens in London to good, not great, reviews, she immediately decides it won't see the light of day in New York. She says she wouldn't be able to bear the criticism. And when she agrees to do a Comedy Central roast—well, let's just say, it's not pretty.

One of the most enlightening, and in some ways off-putting, scenes in the film is when she gets heckled at a show in rural Wisconsin. Rivers makes a joke about hating kids but thinking Helen Keller would be tolerable, and a man yells that he thinks she isn't funny, but mean-spirited. Rivers lays into him. She doesn't hold back at all, and while I hold the belief that comedians should be able to defend themselves as they see fit against hecklers, her expletive-laden tirade crossed a few lines. What was so telling about this scene, though, was just how insecure Rivers is. When one man, a nobody in her life, criticizes her, she viciously lashes out.

I really did find this film fascinating for just how complicated it made its star seem. In addition to that, it's also quite funny. Rivers hasn't lost much in 75 years. I'd argue that her best bits are the more recent ones. Most documentaries are intellectual exercises, but not this one. It felt refreshing—not at all like sitting through a lecture. I wasn't a fan of Rivers before. I'm not sure I'm a fan of Rivers now. But a can definitely say I'm a fan of "Joan Rivers: A Piece of Work," and I would recommend it to just about anyone.