REMEMBERING GENE WILDER
US, 2023, 92 minutes, Colour.
Directed by Ron Frank.
This is a very enjoyable documentary, especially for film buffs and, most especially, those who like and admire Gene Wilder.
Gene Wilder died in 2016. Fortunately, for his admirers, he wrote a memoir, published in 2005 Kiss Me like a Stranger with Wilder himself reading it for an audiobook. Which means then there are Wilder’s own words and commentary as background to the documentary, about his early life, his early career, his move into movies, his comedy, writing and then directing, details of his successful movie career, and then his later years. And, readily available, quite a range of interviews over the decades. And, of course, there are his films and his television appearances in Will and Grace.
One of the main impressions from this documentary is that Gene Wilder was a very nice person, genial, friendly, rather more quiet – as indicated by his tone and responses in his audiobook as well has in television interviews. There is a reference to his raising his voice in a dispute with Mel Brooks but then Brooks explaining that he was provoking Wilder to ensure that Wilder really believed in the suggestions he was making for the song, Puttin’ on the Ritz in Young Frankenstein.
Gene Wilder’s name was to Jerome Silberman, from Milwaukee, Jewish family, not devoutly practising but with the traditions. But, for his career, he wanted to do something – Wilder! The documentary offers information about Wilder himself, his family, his friendly cousin, schooling.
He began his career on stage, was a production of Mother Coverage with Anne Bancroft. It was Anne Bancroft who made the suggestion that Wilder would be suitable for the key character in her husband, Mel Brooks, planning to film Springtime for Hitler, released as The Producers.
One of the advantages of the documentary is that a good amount of time (though always room for more) given to the production of different films and of Wilder’s performance, especially those with Mel Brooks: The Producers, Blazing Saddles (he was not the first choice, coming in for an alcoholic Gig Young but making the character his own), and Wilder’s own screenplay, Young Frankenstein, fortunately taken up by Fox after Columbia executives rejected the film because it was to be in black-and-white in homage to James Whale’s 1930s films. There is quite a focus on at the Frisco Kid, the Jewish background, his working with Harrison Ford. And, there is his collaboration with Richard Pryor, combining well on screen, but not close in real life, with helpful commentary by Richard Pryor’s daughter: Silver Streak, Stir Crazy, See No Evil, Hear No Evil. And, there is Wilder’s writing and directing for Sherlock Holmes Younger Brother, The World’s Greatest Lover, and interviews with star Carol Kane.
One of the delights of the film is continued interviews with Mel Brooks, in his 90s, still genial and comic and full of praise for Wilder.
The documentary also focuses on his encounter with Gilda Radner, working with her, the clicking, partnership, their marriage, her cancer diagnosis, her strong character, the effect on Wilder, her death.
In his later life, the genial Wilder gave interviews to television hosts but retired to writing, five books, to watercolour painting. He also married the psychologist that he consulted for advice on one of the films but Karen Boyer, married to her for 25 years (there are no references to his earlier marriages and divorces).
The sad part of the documentary is Wilder’s gradual losing his memory, the touches of dementia, and footage of these later years.
This film has won several awards, audience awards, especially at it Jewish festivals. But, audiences with memories of favourite scenes from gene Wilder films, a documentary treat.
