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This is a movie about a movie that was never made, and about another movie that was made, instead. I really don't know what this adds to the story of Big Edie and Little Edie of Grey Gardens, and the film footage of the beautiful people of the 1970s is not interesting. I kept hoping for some insight, some reason to revisit Grey Gardens, but this movie doesn't have it.

Life in Montauk, a hamlet of Long Island, circa 1972, as photographer Peter Beard and friend Lee Radziwill plan a documentary on Lee's eccentric aunt, Edith Bouvier Beale of East Hampton, and her cat-loving daughter "Little Edie". Home-movie footage of Lee's sister, Jackie Onassis and her friends (including Andy Warhol and members of his Factory, and Truman Capote) will be of great interest for celebrity-watchers, though the real drawing-card of "That Summer" is the Beales and the story behind the celebrated 1975 documentary "Grey Gardens". Swedish-Danish-US co-production for Sundance Selects; funny and sad, in equal measure. ** from ****

That Summer is not so much for fans of Grey Garden but to those who wanted an even deeper look into the real characters (Big and Little Edie) of Gret Garden. In fact, That Summer is harder to watch for several reasons. For Starters, Grey Garden showcases the truth with kiddie gloves. While That Summer truly shows how unstable and unpredictable Little Edie was. Let alone mentally ill, Little Edie was beyond delusional. Big Edie's so-called imprisonment of each other was not only for their protection to shelter and to hide from reality, but to avoid the shame of what had happened to the family. Grey Gardens may have always been grey but not broken. It was not until the downfall of the family when the men left, the money dried up and the once beautiful mansion fell to disarray. The result is what we see in Grey Gardens and Last Summer exploits. Bottom line, although family and friends helped them by fixing up the house and feeding them, the price for such was to exploit their fall to the public eye. Like Charlie Chaplin's the Tramp kicking the backside of someone higher up than him is the same reason why we as an audience have showcased the two Edie's, it makes us feel superior as the Rich have fallen without their wealth. We sadly embrace the pathetic-ness of the two Edie's to make us feel better, rather than to observe and to dissect an economic observation on what happened to these Long Island aristocrats. Much like the Artists mentioned in the first half of the story, the two Edie's lived in a fantasy. One more glamorous than the other within the eye of the beholder, one still needs to question the overall moral their story tells the audience. As a study of Art or the study of Class or the study of the Human condition, one can argue that their story still is worth exploring, whether it be deemed exploitation or entertainment.

Does not add much insight to Grey Gardens, simply adds more Big and Little Edie, of whom I can't get enough. They are extremely entertaining in this movie, arguing and singing and explaining life. If you enjoyed both Grey Gardens docs and the biopic, you will enjoy this.

This is a magnificent memory piece about a time and place that no longer exists...for good or ill. The Hamptons were being discovered, soon to be over-whelmed with tourists drawn to rub shoulders with the very people portrayed in the film. Their reality was unique and not something anyone could just enter.

While primarily centered on the eccentric Beale's, cultural icons Big Edie and Little Edie, others floating around are Warhol, Capote, Peter Beard, Aristotle and Jackie Onassis, all defy what we assumed or knew about them from the media. The film is an aching meditation on change and loss, treating everyone with enormous compassion, which we often don't necessarily attribute to this set of people.

Artfully assembled, the opening Prologue about Peter Beard's artistry is hard to leave, but the unedited footage of 16mm "home movies" that was to be later assembled by Beard and Lee Radziwill--who is stunning in her kind acceptance of her Aunt and Cousin's "reality," as is Beard--is the heart of the film.

The project was abandoned, and Beard discovering the footage after the fame of "Gray Gardens", simply runs four undiscovered reels without any editing. It's an extension of his techniques as a photographic collage artist. The jarring occasional intrusion of "normal," represented by Building Code inspectors, electricians, plumbers and Health Department personnel really highlights how rarified this group of celebrities and artists were. It recalls a period, for those who lived through it, that's realized casually but vividly; and, along with the creators, you mourn the loss and passing of an era.