RECENTLY VIEWED: NORM - THE TALE OF NORM MACDONALD

I hope you don't mind all of the reviews I have done this year of comedian documentaries. There have been a lot of them, and I think the greatest one is this latest I just finished watching on Norm MacDonald. For many comedians, success is measured by fame. For Norm Macdonald, success seemed to be measured by whether he found something funny, regardless of what anyone else thought. Netflix's Norm: The Tale of Norm Macdonald, directed by Judd Apatow, captures that spirit beautifully, creating a documentary that is as unconventional as the comedian himself. 

Rather than relying heavily on newly filmed talking-head interviews, the documentary allows Norm to tell much of his own story through archival footage, home videos, photographs, stand-up material, interviews, and even narration drawn from his own work. The result feels less like a traditional biography and more like spending two hours wandering through Norm's remarkable, strange, and endlessly funny mind. 

The film traces Macdonald's evolution from an ambitious Canadian stand-up comic to one of the most beloved and influential comedians of his generation. His years on Saturday Night Live, particularly behind the Weekend Update desk, receive significant attention. The documentary reminds viewers why his deadpan delivery, fearless jokes, and refusal to back down from controversial punchlines made him both admired and misunderstood. 

One of the documentary's greatest strengths is its honesty. Apatow does not present Macdonald as a flawless comedy saint. The film explores his compulsive gambling, his complicated personality, his habit of bending the truth, and the self-sabotaging tendencies that sometimes prevented wider mainstream success. Yet these imperfections only make him more fascinating. 

What emerges is the portrait of a comedian who never seemed interested in playing by Hollywood's rules. Norm could have chased safer material, bigger movie roles, or broader popularity. Instead, he remained committed to his own unique comic voice, even when it baffled audiences, executives, or fellow entertainers. That stubborn authenticity is what made him a "comedian's comedian" and ultimately why his legacy continues to grow years after his death. 

The documentary is also surprisingly moving. Beneath the endless jokes lies the story of a man who thought deeply about life, death, faith, and human nature. Longtime fans will recognize many classic moments, but they may come away with a greater appreciation for the intellect and vulnerability hidden beneath the deadpan persona. 

In the end, Norm: The Tale of Norm Macdonald succeeds because it embraces the contradictions that defined its subject. Norm was confident yet insecure, honest yet deceptive, profoundly intelligent yet eager to play the fool. Rather than trying to solve the mystery of Norm Macdonald, the documentary celebrates it.

For devoted fans, it's an affectionate tribute. For newcomers, it's the perfect introduction to one of comedy's most original voices. And for everyone else, it's a reminder that sometimes the funniest people are also the hardest people to figure out...

MY RATING: 10 OUT OF 10

THE MYSTERIOUS DEATH OF THOMAS INCE

The mystery surrounding the death of silent-era film producer Thomas Ince revolves around the conflicting reports and rumors surrounding his death in November 1924, after falling ill on a yacht owned by William Randolph Hearst. While the official cause of death was heart failure, the circumstances, including the presence of Hearst's mistress Marion Davies and Charlie Chaplin, led to speculation that Ince was accidentally shot by a jealous Hearst or died from foul play, though no official charges were ever filed.

Ince revolutionized the motion picture industry by creating the first major Hollywood studio facility and invented movie production by introducing the "assembly line" system of filmmaking. He was the first mogul to build his own film studio, dubbed "Inceville" in Palisades Highlands. Ince was also instrumental in developing the role of the producer in motion pictures. Three of his films, The Italian (1915), for which he wrote the screenplay, Hell's Hinges (1916) and Civilization (1916), which he directed, were selected for preservation by the National Film Registry. He later entered into a partnership with D. W. Griffith and Mack Sennett to form the Triangle Motion Picture Company, whose studios are the present-day site of Sony Pictures.

 Ince became ill on November 19, 1924, while aboard Hearst's yacht, the Oneida, during a trip intended to celebrate Ince's 42nd birthday. Guests on the yacht included Hearst's mistress, actress Marion Davies, and her close friend Charlie Chaplin. Ince became violently ill, was taken off the yacht in San Diego, and died three days later. The official report stated Ince died from heart failure, possibly related to acute indigestion. Media reports initially circulated that Ince had been shot.

A prominent theory suggested that a jealous William Randolph Hearst, concerned about his mistress Marion Davies' relationship with Charlie Chaplin, attempted to shoot Chaplin but accidentally shot Ince instead. Confusion surrounding the events and a lack of communication from those on board fueled speculation about a cover-up. The District Attorney of San Diego, Chester C. Kempley, investigated the death and publicly stated that Ince died of heart failure caused by indigestion.  Despite the extensive rumors of murder, no charges were ever filed.

Years later, Hearst spoke to a journalist about the rumor that he had murdered Ince. "Not only am I innocent of this Ince murder," he said, "So is everybody else." Nell herself was increasingly frustrated over the rumors surrounding her husband's death and remarked: "Do you think I would have done nothing if I even suspected that my husband had been victim of foul play on anyone's part?" Still, the myth of Ince's death overshadowed his reputation as a pioneering filmmaker and his role in the growth of the film industry. His studio was sold soon after he died. His final film, Enticement, a romance set in the French Alps, was released posthumously in 1925.

The true story of Ince's final days remains a subject of debate and mystery, inspiring books and films like the 2002 movie The Cat's Meow. Ince's untimely death at the height of his career marked a significant shift in the industry, accelerating the decline of independent producers as the studio system consolidated power...

RECENTLY VIEWED: LORNE

I just finished watching yet another great documentary! There are certain figures in entertainment who become larger than life precisely because they reveal so little of themselves. Lorne Michaels is one of those people. For more than five decades, he has shaped American comedy from behind the scenes, launching careers, influencing culture, and turning Saturday Night Live into a television institution. Yet the man himself has remained an enigma. The documentary Lorne attempts to pull back the curtain, and while it doesn't completely solve the mystery, it offers a fascinating look at one of television's most influential architects. 

Directed by Morgan Neville, whose previous work includes acclaimed documentaries about cultural icons, Lorne traces the journey of Lorne Michaels from his early days in Canadian television through the creation and evolution of Saturday Night Live. The film features extensive interviews with former cast members, writers, hosts, and collaborators including Tina Fey, Conan O'Brien, Chris Rock, Jimmy Fallon, Maya Rudolph, Kristen Wiig, and many others. 

What makes the documentary particularly compelling is the access. Viewers aren't merely treated to a greatest-hits compilation of famous sketches. Neville's cameras follow the modern-day machinery of SNL, allowing audiences to witness writers' meetings, host interactions, and the weekly chaos that culminates in a live broadcast. These moments reveal why Michaels has survived and thrived in an industry notorious for burning people out. He is shown less as a showman and more as a patient curator of talent, someone who understands both comedy and human nature. 

The documentary's greatest strength is also its most frustrating aspect. Like numerous former cast members describe, Michaels remains difficult to truly know. Even after 100 minutes, viewers may find themselves understanding what he does far more than who he is. The film explores his professional triumphs, his instincts for spotting talent, and his influence on generations of comedians, but it stops short of becoming deeply personal. Whether this is a flaw of the documentary or simply the nature of its subject is open to interpretation. 

Still, the film succeeds as an affectionate portrait of a man whose fingerprints are everywhere in modern comedy. Nearly every major comedic voice of the last fifty years seems to have a story about seeking Michaels' approval, fearing his criticism, or celebrating one of his rare laughs. The cumulative effect is remarkable. By the end, it becomes clear that Saturday Night Live may be a cultural institution, but Lorne Michaels is the force that has held it together through political upheavals, changing audiences, and countless entertainment trends. 

For longtime fans of SNL, Lorne is a treasure trove of nostalgia, packed with archival footage and stories that connect multiple generations of comedy. For casual viewers, it serves as a fascinating business and leadership study disguised as an entertainment documentary. The film illustrates that Michaels' genius may not be in telling jokes but in recognizing who can tell them better than anyone else...

MY RATING: 10 OUT OF 10

BING CROSBY: THE HOLLYWOOD YEARS - PART 14

RECENTLY VIEWED: WHO IS MARTIN MULL

There has been a host of documentaries on comedians this past year, and Netflix did a great job with this latest one. There are comedians who become household names, and then there are comedians who quietly influence generations of performers while never quite receiving the recognition they deserve. Netflix's Who Is Martin Mull? falls squarely into the second category, functioning as both a biography and a long-overdue appreciation of one of entertainment's most fascinating creative minds. The documentary examines the life and career of Martin Mull through interviews, archival footage, and conversations with friends and collaborators who witnessed his remarkable journey. 

For many viewers, Martin Mull may be remembered as Leon from Roseanne, Colonel Mustard from Clue, Gene Parmesan from Arrested Development, or Principal Willard Kraft from Sabrina the Teenage Witch. What this documentary reveals, however, is that acting was only one chapter in a career that also included music, comedy, writing, and painting. Mull himself considered painting his greatest artistic passion, a theme that becomes the emotional center of the film. 

One of the documentary's greatest strengths is that it allows Mull to tell his own story. Built around interviews originally conducted by the late Bob Saget beginning in 2018, the film captures Mull's trademark wit, intelligence, and self-deprecating humor. Saget's admiration for his subject is evident throughout, and there is something unexpectedly moving about watching two beloved entertainers who are no longer with us engaging in these conversations. 

The documentary does an excellent job highlighting Mull's influence on modern comedy. Through commentary from performers and colleagues including Steve Martin, David Alan Grier, Patton Oswalt, and others, viewers gain an appreciation for how innovative Mull's work truly was. Long before alternative comedy became mainstream, Mull was blending music, satire, absurdism, and social commentary into a style that felt unlike anything else on television. 

Yet the most surprising aspect of Who Is Martin Mull? isn't the comedy. It's the humanity. The film gradually shifts from a career retrospective into a meditation on creativity, aging, and legacy. Mull emerges not as a celebrity chasing fame but as an artist constantly reinventing himself. Whether he was performing in folk clubs, starring in sitcoms, or creating paintings in his studio, he seemed driven more by curiosity than ambition. 

The documentary is not perfect. At times it tries to cover so many facets of Mull's life that certain periods feel rushed. Viewers unfamiliar with some of his earlier work may wish the film spent more time exploring groundbreaking projects such as Fernwood 2 Night. Nevertheless, these are minor shortcomings in what is otherwise a deeply engaging portrait. 

What stayed with me long after the credits rolled was the realization that Martin Mull may have been one of America's most underrated entertainers. He was the rare artist who succeeded in multiple disciplines and seemed genuinely uninterested in taking himself too seriously. In an era obsessed with branding and celebrity, Mull's career feels refreshingly authentic...

MY RATING: 10 OUT OF 10

STORY BEHIND THE PHOTO: MARION DAVIES

This sad photo is from the funeral of Clark Gable on November 19, 1960. Marion Davies is in the photo with her last husband, Horace G Brown, at the funeral of Clark Gable, just ten months before her own death. She had always nursed a drinking problem but in her final years she became a tragic alcoholic and a bitter woman...

RIP: EVA MARIE SAINT

Oscar-winning actress Eva Marie Saint, who starred in such memorable classic films as "On the Waterfront" and "North by Northwest," died Tuesday at her home in Los Angeles. She was 102.

The delicate, fine-boned actress, one of the first breakout talents from early television, won her Academy Award as best supporting actress for "On the Waterfront" in 1955, making her the oldest living Oscar winner. She played Edie Doyle in the Marlon Brando starring film, with the New York Times writing in its review, "Amid scenes of carnage, she gives tenderness and sensitivity to genuine romance."

One of her most memorable roles was as the cool but seductive blonde spy in Alfred Hitchcock's 1959 spy thriller "North by Northwest." "Not only does she provide the requisite icy sex appeal as Eve Kendall, a shadowy secret agent, but she also proves to be much more than a standard damsel in distress," Variety wrote in an appreciation on her 97th birthday.

"Saint's character is fully capable of pulling the wool over the eyes of sinister villains and usually remains two or three steps ahead of Grant's hapless Madison Avenue executive Roger Thornhill," the appreciation continues.

Saint made her TV debut on "Camp Hoop La," then became a regular on "One Man's Family." She broadened her dramatic range in such anthology series as "Philco Playhouse," "Robert Montgomery Presents" and "Studio One." Highlights during the period included Paddy Chayevsky's "Middle of the Night" (1954) and a musical adaptation of Thornton Wilder's "Our Town" (1955) co-starring Paul Newman and Frank Sinatra (both shows brought her Emmy nominations); Sidney Howard's "Yellow Jack"; and the drama "Claudia."

In 1956 she took on the glamorous female lead in "That Certain Feeling" opposite Bob Hope, followed by the 1957 film version of "A Hatful of Rain" and "Raintree County."

After "North by Northwest," she appeared in "Exodus" and "All Fall Down." The latter, directed by John Frankenheimer and co-starring Warren Beatty, saw her give one of her best dramatic performances.

She was the numinous but scorned wife in 1965's Elizabeth Taylor-Richard Burton adultery tale "The Sandpiper" and then appeared in a better vehicle, Norman Jewison's comedy "The Russians Are Coming the Russians Are Coming," in 1966. Her performance in "Loving," co-starring with George Segal, was highly regarded and rated with her best work. Other roles include "36 Hours" and "Grand Prix." Except for another Hope comedy, "Cancel My Reservation," she spent most of the next two decades on TV and onstage.

On Broadway she acted in "The Lincoln Mask" in 1972 and then, opposite Henry Fonda, in "The First Monday in October" in 1979. In 1983 she appeared in a Chicago production of "Duet for One." Her television credits include "School for Bachelors," "A Carol for Another Christmas," "'The First Woman President," "Mrs. Epenshade," "Taxi" and miniseries "How the West Was Won." The latter two roles also brought Emmy nominations.

Saint received good critical notices for "A Christmas to Remember" with Jason Robards, "When Hell Was in Session," "The Curse of King Tut's Tomb," "The Best Little Girl in the World," "Malibu," "My Antonia" and "Jane Doe," among other roles.

The actress had a recurring role on the ABC series "Moonlighting," starring Cybill Shepherd and Bruce Willis, as Shepherd's mother.

In 1986 she returned to the big screen with a role in the Tom Hanks-Jackie Gleason vehicle "Nothing in Common." Saint appeared in many TV movies throughout the 1990s, including roles in "I'll Be Home for Christmas," "Kiss of a Killer," "After Jimmy" and "Open House," along with a cameo as Roz's mother in "Frasier." After four previous Emmy nominations, Saint finally took the statuette with a supporting actress Emmy win in 1990 for her role in the NBC miniseries "People Like Us."

Saint returned to film again in the 2000s, appearing in pics such as "I Dreamed of Africa" (2000), "Because of Winn-Dixie" and "Don't Come Knocking" (2005) and 2006's "Superman Returns," in which she played Martha Kent. In 2014 she made her final big screen appearance, in the Akiva Goldsman written and directed "Winter's Tale."

Her husband, TV director Jeffrey Hayden, died in 2016. Survivors include her two children, Darrell and Laurette, four grandchildren, Eli, Tyler, Molly, and Stella and two great grandchildren, Arlo and Finley...