SWAN SONG

US, 2021, 106 minutes, Colour.

Udo Keir, Jennifer Coolidge, Linda Evans, Michael Urie, Ira Hawkins.

Directed by Todd Phillips.

This is a true story, an encounter by the writer-director, Todd Phillips, with an elderly man, Patrick Pitsenbarger, in Sandusky, Ohio. Patrick’s reminiscences, stories from other people around the town, some gossip. Patrick died in 2012.

Patrick is played by German and international character actor, Udo Kier, prominent in films since the 1960s, acting in Paul Morrisey/Andy Warhol Frankenstein and Dracula films, working for Rainer Werner Fassbender as well as Lars von Trier. In fact, he has appeared in over 250 films. But, it is no swan song for him, as he has appeared in four films in two television series since completing this film!

There is an indication of Patrick’s vision of himself in the prologue, an empty theatre, the curtain pulled back, the lights coming on, Mr Pat emerging to sing. However, in reality, he has been for many years in a home for the elderly, smoking forbidden cigarillos, incessantly folding up napkins neatly and storing them, going to the dining room, a touch aloof. Who is he? What has he been?

The answer comes fairly quickly – he has been the hairdresser in Sandusky, popular in the 1990s, but, in his memory, betrayed by his major client, the affluent Rita (a welcome cameo by Linda Evans of Dynasty fame, appearing in photos and then in a final ghostly sequence) and his major assistant, Dee Dee (played by Jennifer Coolidge in what must be one of her most laid-back performances). We discover that he is gay, has fond memories of his partner, David, an old friend, Eunice. But the main action here is that the administrator of Rita’s will tells him that she has asked for him to prepare her for her funeral. There is a bequest of $25,000, he refuses in a huff.

But, huffs not necessarily last long. Patrick escapes from the home, takes to the road into town, having changed his mind about the funeral. What happens then is a series of entertaining episodes, a friendly mechanic showing the way, a visit to his old house – to discover that it has been demolished but a friendly chat with the new owners who prepare him lunch – skipping with children, visiting shops, shoplifting lotions and alcohol, a visit to a clothes shop and the storekeeper remembering him on her only visit to the hairdresser, age 19, then he remembering her and all her family details, her giving him a pale lime suit and hat and he goes on his flamboyant way!

But, with pathos, he visits David’s grave, seeing his own name on the tombstone. He visits the club where he sang every Saturday night, a haunt for closeted gay men in the 1990s. It is to close that night and he returns, reminiscing, helping one of the Drag Queens with his hair, finding the old chandelier in storage and putting it on his head, dancing before he collapses.

Which means that Swan Song has an appeal to a camp sensibility.

Patrick does go to work on Rita’s funeral preparation, has an imaginary confrontation/discussion with Rita, reveals how strong their friendship was and how he had a sense of betrayal when she did not attend David’s funeral, after he died from AIDS. But, Patrick decides to forgive her, lovingly tends her hair and make up. And he receives some unexpected moral support from Rita’s grandson, Dustin (Michael Urie) who reveals how his grandmother listened to his declaration of his sexual orientation, quoting Patrick and David to her grandson.

Todd Phillips clearly wants us to experience something of the Patrick Pitsenbarger whom he met those years ago in Sandusky.

1. The titles and expectations? Final performance? Before death?
2. Sandusky Ohio, the American midwest, the town, the nursing home, the roads, shops, the club, mansions, funeral parlour, the river? The audience immersed in this town?
3. The musical score, the range of the songs, artists, artists favoured by Drag Queens?
4. Based on a true story, an actual character, Patrick Pitsenbarger, his encounter with him, collecting stories about him? His living in Sandusky, the filming there?
5. The brief prologue, the empty theatre, the atmosphere for a swansong, lights, curtain, Mr Pat appearing, singing – and the recurrence of that image at the end?
6. The film as a portrait of Patrick, in every scene? Udo Keir’s presence? Age, nursing home, in the dining room, in his room, folding the papers, the little cigars, the woman in the wheelchair and his giving her cigars, gratification? His doing her hair? And the revelation of his career, hairdresser, popularity in the town over the decades, patronage by Rita, her moving to Dee Dee, Dee Dee as his assistant, his condemnation of her betrayal and opening the rival parlour? Years of resentment? Life in the home?
7. Flashbacks, his relationship with David, David and his gardening, memories of Eunice, the gay man, closeted in past decades, David and his death from AIDS? Gradual revelation of Patrick and his life, orientation, relationships, the visit to the Men’s and the contact with Eunice? The club, his performing their every week? The gradual revelation of his flamboyance, and his camp style?
8. Rita’s death, the visit from the banker, her will, wanting him to prepare her for her burial? Patrick’s reaction, refusal, the promise of $25,000?
9. Patrick and his change of heart, throwing all his folded pages around the room, getting out, walking on the road, the friendly mechanic, his collapse, but determined to walk, his decision to prepare Rita?
10. The various activities around the town, the shops, people remembering him, not remembering him, skipping with the children, wanting the special lotion but its not being produced? His drinking? The limited amount of money? Shoplifting the liquor, the lotions in his trousers? The encounter with a banker, some cash, drinking the wine? His visit to his old house, disappeared, talking to the owners, memories, their kindness, giving him lunch? Going to the store, the clothes, the storekeeper remembering him, his eventually remembering her and all the details, her offering the suit, is wearing it, the hat? Looking the part, walking the town?
11. Going to David’s grave, the sadness, the memories? His own name on the grave? Later going to the Men’s, imagining Eunice, sitting by the water, the reminiscing, the gay lifestyle of the 90s? Eunice’s name on the headstone?
12. Going to see Dee Dee criticism and antagonism, the talk about the past, her gay assistant observing, Dee Dee and acknowledgement of Patrick, Rita as customer, the wanting to charge him for the lotion, eventually giving it to him?
13. The deadline, meeting the banker, going to the funeral home, going to the bar, his memories, Gabriel at the bar, camp style, the story of the club, Patrick reminiscing, the news that it would close that night? His return, the crowds, the Drag Queens, the local big one Queen, ambitions, Patrick doing his hair, success? The dancing? Finding the chandelier, appearing and wearing it, his collapse, hospital? And his getting out of the hospital – and going to the funeral home?
14. The funeral home, Dee Dee there, her telling him to go in, Rita, in the coffin, her appearance to Patrick, the reasons for the falling out, each confiding in the other during the 1990s, her knowing all about David, but the stigma of AIDS, the closeted men, her betraying him? Her appearing, explanations, his ultimately forgiving her? Using the lotion, preparing her hair and make up? His own make up?
15. The encounter with Dustin, the welcome, reminiscences, Dustin and his talking with Rita, her understanding, telling him about Patrick is a gay man, the reassurance?
16. Patrick, his care for Rita, his swansong? Ready to die?