Paul Williams: Still Alive

As many others my age, I just assumed that Paul Williams had passed away since he was no longer in the public eye. He was everywhere in the 70's. A truly talented songwriter, with a self aware wit, he was an excellent talk show guest. Then he disappeared.

Netflix showed this documentary as a recommendation after I watch the Glen Campbell documentary and I actually think I enjoyed this documentary more.

At first, it was hard to watch as the director came off as stalker-ish and often seemed disinterested when Williams was sharing more poignant aspects of his upbringing, but as the documentary progressed, Wllliams story of addiction, recovery and the discovery of true happiness shone through.

I highly recommend this to anyone who has fond memories of Paul Williams in his hey day. This documentary really shows an interesting perspective on celebrity and what truly brings happiness.

Funny - 2012 must have been the year for depressing documentaries about aging great singer-songwriters.

Like the Neil Young Journeys fiasco, this film disappoints. It's not boring like Young's film, but it is sad, sad, sad!!!

And why did Stephen Kessler hound Williams until the end, with old video clips that only humiliated him and made him want to throw Kessler out of his house?

I was a writer for Downbeat magazine years ago and I profiled famous jazz musicians, some of whom had personal rough spots and most of whom had seen their careers die down with age. But I knew enough not to make them uncomfortable or embarrass them with insulting questions...and, in the telling, I didn't emphasize the darker side of things. Yes, tell the tale, but with giants like Paul Williams (those of you who weren't around might not know he was on the top of the world once, having written scores of great hit songs sung by many - including himself - and he rose to celebrityhood also on his wit and charm) need to be treated with a little more respect.

And PS Kessler, I - the grandson of a great songwriter and bandleader - can tell you that the music industry eats you up and spits you out. It's a rare person whose fame or popularity lasts a lifetime and it's no fault of the artist.

The Monkees' Davy Jones, may he rest in peace, had a career in later life much like Williams. This is what happens in the fickle music industry. Even Boston's lead singer, Brad Delp, who sadly took his own life not long ago, experienced disappointment after having been on top of the world in one of the best rock bands ever.

So...there's a bigger story here and it's not told.

This is a wonderful treat for Paul Williams fans (of which I am one), and it's also a semi-serious portrait of recovery and survival from 1970's celebrity and the excesses that often came with that lifestyle.

My only problem with this film is that the director, Stephen Kessler, a self-professed fan, is a presence in the film the same way Michael Moore often is in his movies. Kessler is likable and it's apparent that the film probably couldn't have been presented without some insight as to how and why he made it (no way he could have been invisible). And some of the film's funniest moments stem from the awkward and sometimes intrusive presence of Kessler and his crew.

But I would have liked a better sense of Kessler as an individual and a passionate fan rather than a challenged documentarian (he's a constant presence but we don't get to know him well enough). His approach also left me wanting a more linear treatment, like that of an A&E Biography; Williams' output was so extensive that much of his career retrospective here seems rushed. Kessler includes a lot of awkward cinema-verite moments, many of which are entertaining, but for me there's not enough coverage of Williams' acting, writing and recording work and I would have liked more focus on that.

Still, I'm grateful that he made the film, and that Mr. Williams was a (sometimes) willing subject.

Greetings again from the darkness. This documentary was recommended to me by Adam, a fellow movie and music lover. Without his urging, I probably would have never taken the time to watch this ultimately fascinating and intriguing look at Paul Williams. I say that after an extremely clunky first few minutes where director Stephen Kessler, a self-proclaimed childhood fan of Williams, displays his insecurities and lack of focus as a filmmaker.

The best stories have an abundance of conflict, and it turns out that the polar opposite goals of Williams and Kessler make for some spellbinding viewing. See, Kessler wants to figure out what happened to the 1970's icon and Williams simply wants to show how he has adjusted to a somewhat normal life. Kessler wants to look back, while Williams is living (happily) in the present.

If you don't recognize the name Paul Williams, then you probably didn't watch TV or listen to the radio in the 1970's. The guy was everywhere! Known mostly for his prolific songwriting, he also performed, appeared in movies, TV shows, game shows and talk shows. In fact, he was a favorite of Johnny Carson and appeared on The Tonight Show fifty times. And then ... just like that ... he was gone. Drugs and alcohol destroyed his career. Now twenty years sober, he still performs - just in much smaller venues. This is man who has spent much time soul-searching. His insight into being different (difficult) or special (addicting) makes for a chilling moment.

Kessler follows Williams around until he is forced to join him in front of the camera. Their strained relationship is painful to watch until things begin to turn during a long bus ride in the Phillipines. With so much of the focus on Kessler's attempt to connect with Williams, this is as much a personality analysis as it is a look at the history and current status of Williams.

The final act of the film seems a bit staged as Kessler finally gets the "sleepover" at Williams' house that he had been after for 2 plus years. Reviewing old TV clips does not get the desired reaction ... Kessler never seemed to grasp what he had with this film. It's obvious that the two men now have a connection, but if you are expecting a tribute film to the glory years of Paul Williams, you will be disappointed. If instead you embrace this unusual film, you will come away impressed with the man that Paul Williams has become. It's no "Rainbow Connection" but maybe it's even more.

It was only in the 1970s that Paul Williams could have occurred. Short, with curly lips that made him look like a smirky Little Lord Fauntleroy, he was a fixture on talk shows, a cheeseball actor, and a profoundly talented melancholy pop composer like "Rainy Days and Mondays." He's a humbled man in the doc of Stephen Kessler who regrets the spoiled child he once was.The film is fascinating, although it smacks a little too much of its own lips at the tackiness of the stardom of the freak seventies