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This film excelled as a prize winner at the Friars Club Comedy Film Festival. The writing of Michael Levi Harris is clever, amusing and sweet, but not sugary. A lot happens in 20 minutes, but you don't feel rushed. Director Michael Urie has a great feel for the audience, which ate up his timing. Each little surprise yielded a laugh. Some were so clever, a pause was required - and he always waited for us. We all wish we had friends like the adorable Harris, also playing the title role. His character is seamlessly clever beyond expectation, yet warmly clueless. Tovah Feldshuh lights up the screen with energy, charm and pseudo-sophistication. The Hyperglot is complemented perfectly by the settings in Manhattan, where you can hear a different language on every street corner.

This presentation is original and clever; very nicely twisted from the Rashamon perceptions of several disparate pasts. As usual, Woody is very perceptive and a master of dialog, especially in fracturing relationships.

I noted that the "comedy" writer was heavily focused on the tragic elements of his plot line, while the "tragedy" writer saw little humor in his plot line. Actually, the 2 writers did not seem to differ very much at all in their views. It does not appear that Woody finds life very humorous. Rather, he finds humorous elements in mundane and sad events.

More obviously, most of the characters sound just like Woody. The comedy writer might as well have been Woody and Will Ferrell is a Woody stand-in. Several of the others, including the women, had numerous "Woody" moments. It seems like the actors and even the screen are interfering with Woody's attempts to present his art. Unlike other directors who expect the actors to climb into the characters, Woody seems to ask the actors to stand still while he paints them as the characters. Would he prefer to simple do a monologue?

This documentary brought us to places that are inaccessible to us. As these children are invisible to us, they do not exist for us. Our lives are brought into a better context when we see what they and their families have and lack. They show their love, commitment and loyalties in ways that are barely recognizable to us. However, their limited dreams are not so different from ours; to be known, recognized and cared for, as individuals.

The efforts of Ms. Briski, as a catalyst,to enhance the lives of the children, were well documented and were the solid core of the film. However, her efforts to intercede into their lives by taking them out of their environment, although noble and worthwhile, made her a principal in the film. The portrayal of these efforts in the documentary were inconsistent with her art and journalism. She became too much of the story.

As other documentarians of late have been engaging more personally in their own contrivances (e.g., Michael Moore), maybe I am expecting a purity of form that is naive.

Regardless, the power and importance of this documentary are undeniable. It was well worth the investment of 2 hours of my time and a small piece of my soul.