User Reviews

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.

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.

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.

This film is not a traditional biopic, but rather the director's recounting of the role Paul Williams has played throughout his life. How he remembers him from his youth, and how he figures into his current life. There are touches of Paul's early career and life, but the primary focus is on the friendship which grew between him and the director throughout the years of filming.

Stephen Kessler, a once hopeful, now floundering director, had been a fan of Williams' work growing up, but lost track of him somewhere around the early 80's. Much to his surprise, he found out that the entertainer was not dead, as he had long assumed, and was still making public appearances. He then went on a journey to discover where Paul had disappeared to for all those absent years.

The only flaw with this idea is that, for many of us, Paul never disappeared. Sure, his presence wasn't as strongly felt as it may have been a few decades ago, but even with his struggles with drug and alcohol abuse (now clean for 20 years), Paul was still making music and appearing in several films and TV shows. While I realize that Paul may have been flying under the radar for many, he was far from underground.

Kessler ignores these recent efforts, leaving blank Paul's creative history between 1980 and the late 2000s when he started filming this documentary. When asked during a Q&A following a screening of this film if he was still writing music, Paul lovingly jokes that he is and he thinks Kessler would have been happier to have found him living a trailer and eating out of trashcans, as it would have been better for his movie.

This film is not really one about Paul Williams, per se, it seems more about Kessler's search to find out something about his past, about his own slipping into obscurity, and the ways in which filming Paul transforms from an idea, to a crutch, to a renewed hope in his own career...and a friendship between the two.

While I feel like some discredit was done to Paul by lacking to mention the full spectrum of his work, I am glad to have a film that can renew interest in him and his many talents. The film is fully entertaining and Williams is delightful, albeit not quite the focus that the title might lead one to believe.

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

The gist of "Paul Williams Still Alive" (which I caught at its final SXSW screening in Austin this March) is simply this: would-be feature film documentary maker Stephen Kessler was so obsessed with the way the AM-radio hits penned by diminutive 1970s entertainer Paul Williams had made his teen-aged heart go all a-flutter that he decided to make a documentary about Williams -- without even realizing that his "late, great" musical hero was still very much alive!

This is a cinematic concept that should'nt have worked -- but, thank the Pop Culture gods, it did!

Mind you, it never would have come close to passing muster if Williams hadn't kept a veritably complete reference library of his clips on every bad music, comedy, variety, game and chat show that existed during the 70s and 80s. Nor would it have worked if Williams hadn't allowed Kessler full use of that library to reveal the inevitable downhill slide that nearly all of Hollywood's denizens of that time period were prone to follow!

For his part, Kessler reveals himself to be (potentially) the world's worst director of a film like this as well! It's only when he and his childhood hero miraculously find them-selves on "the same page" (courtesy of an encounter with third-world terrorism, of all things!) that the alchemy begins to take place and the hill of Tinseltown dross turns miraculously into a mountain of pure gold!!!

Fans of schlock will be delighted either way, as they roll about ecstatically in the slushy mounds of 70s celebrity offal expelled by the coked-up likes of Robert Blake, Karen Carpenter, Dick Clark, Kermit the Frog, Jack Klugman, Peter Lawford, Tony Randall, Burt Reynolds, Telly Savalas, Barbra Streisand, John Travolta and more!

But more sensitive viewers will find themselves fighting to hold back the tears as the characters refuse to merely remain the two-dimensional "stars" that we enjoyed chuckling derisively at on our little cathode-ray tubes.

Watch in stunned semi-silence as a slack-jawed star-gazer, obsessed with the tear-jerking tune-age that kept his appreciation of Paul Williams from advancing beyond the analytical level of a 12-year-old, metamorphoses into an insightful, savvy observer of character before your very eyes! Shudder in awe as the short-statured subject reveals himself to be more than worth the effort of analyzing!

Whether your personal reference point to Williams is The Muppets ("The Rainbow Connection"), The Carpenters (Rainy Days & Mondays"), or Brian DePalma's midnight movie cult classic "The Phantom of the Paradise", you can trust me at least on one thing about this film: it WILL make you glad that Paul Williams is still alive!

-- Kenneth W. Lieck

Writer/director Stephen Kessler is a working filmmaker in Hollywood. He's a fan of songwriter celebrity Paul Williams. Assuming Paul is dead, he is surprised to find out that Paul is still alive and still working. It turns out that he is sober just recently. Paul Williams was a big songwriter of the '70s. After a good performance on The Tonight Show, he became somewhat of a celebrity. He became hooked on various substances and fame. However his fame fades.

Kessler is somewhat of a stalker. It gets awkward at times. Paul chaffs at Stephen's insinuation that something is pathetic about his later career. Sometimes he's treated like a family member. Other times, there is this weird tension. But Stephen always seems to be a fan, and that adds a sweet charming feel to the movie.

These days there are documentaries on pretty much every subject imaginable. All of them have something of their own to offer, but all usually end up with a bit of the same feel. There are always a few that stand out for whatever reason, but none more than dealing with celebrities or various characters that have disappeared form the limelight. The latest talking this subject Still Alive looking into the life of singer, songwriter, and actor Paul Williams.

Still Alive follows legendary 70's icon Paul Williams to see what he has been up to since vanishing from the spotlight so many years ago. If you don't know who Williams is then you are either too young or lived under a rock cause you couldn't watch anything without seeing him show up back in the day. While on the surface this film seems like it's just going to be another one of those slow follow around a celebrity stories with little information other than to tell about what used to be, but you quickly find out this is so much more. Where the filmmaker set out to see what Williams had been up to, clearly turned into something he didn't expect. Much credit to him for including some of the scenes that are things a lot of people would have taken out. While Williams agreed to let him follow him around, he constantly he seemed annoyed and put out by the whole thing which added an intriguing element to the overall film. It ends up showcasing not only what he has been up to, but a bit of what lead to his stepping out of the limelight as well as the unlikely relationship the filmmaker and Williams form as they the film progresses.

Most people always look at a celebrities fall from grace when they go from being a superstar to suddenly gone, but Still Alive showcases a man who had it all and gave it up for something more life and happiness. If you are a fan of Williams, just recognize or never heard of him this is a must see documentary about a legend in the industry. You might be surprised what you learn about some of your favorite music and his involvement.

Whether realized or not, Paul Williams has had a tremendous musical impact on my generation. Easily the redeeming factor of this film are the juxtapositions of Williams in his heyday and Williams today.

The documentary is populated with gasp-inducing ("I remember that!" "I saw that when it aired!") moments, terrific vintage clips, and good interviews, especially with his long-time band leader.

Williams comes off completely accessible and a very self-aware guy. The tragedy of this entire project is the fact that the person at the film's helm is Stephen Kessler, who is intrusive, obnoxious, paranoid, xenophobic, and, most of all, so self-absorbed that every action Williams makes (a tour of Vegas, to the Philippines, etc.) is about him. Not 30 flippin' seconds go by in this documentary, where Kessler isn't self-referential.

Williams is shockingly gracious despite Kessler's repeated attempts at "gotcha" moments. Kessler is so arrogant that he actually interrupts Williams' poignant childhood memory. He's the kind of "reporter" (term used very loosely) who isn't listening to his subject. Kessler has an agenda, and no matter how many times he refers to Williams as his "idol," that agenda is a despicable one. Kessler's "fame" (Oscar for a short film) wasn't even a blip on the entertainment scene and he is determined to make this film about him.

If only Kessler had used this amazing opportunity to showcase Williams -- who is certainly as interesting and engaging as he'd been at the height of his fame -- this could have been a very remarkable film portrait. It wouldn't even have had to be a tribute; Williams shows moments of curmudgeonly behavior (and really, who wouldn't be, in Kessler's presence), but Williams' humor and undeniable talent deserve a showcase.

Kessler repeatedly (and cringing-ly) keeps asking questions that are the equivalent of "how does it feel to have been so famous and to become so irrelevant?" The truly horrible moment is when Kessler (who clearly has been chomping at the bit, stalking Williams for two years for this opportunity) makes Williams awkwardly and uncomfortably sit through a late 70s-vintage television clip of a clearly high, Williams hosting the "Mike Douglas Show."

Kessler wants to make a film about himself, and frame it with a compelling subject like Williams. For Williams -- who generously consented to Kessler's cameras AND provided him with boxes of videos for the documentary (without these contributions there would be absolutely no film) -- this film provides a reminder of Williams. But he deserves so much better.

One of the best and worst things going for this documentary is that Paul Williams is participating in the filming. The director didn't ask a lot of introspective questions; however, this really wasn't an interview as it was a film crew and director tagging along videotaping a busy Paul - during meetings, lunch and dinner, etc.. And when the director and Paul finally get around to conducting a really in-depth conversation, it was either cut short by Paul or the director.

Having Paul Williams, somewhat at the director's disposal, I would have liked for him to have discussed The Phantom of the Paradise more, the conventions, his opinions on some of his contemporaries or music from the '70s through today, any clean road stories, but, as the director noted,"Paul doesn't look back". That being the case, the director might have done better in-depth interviewing others about Paul Williams and reduced his screen time to about 25% of the movie.

Nonetheless, still a good movie about a fellow childhood hero.

I'd been meaning to watch this for a few years and finally did so. I'm not a huge Paul Williams fan but I do like some of the songs he wrote and I'm always interested in stories about creative people, their lives, creative process, career arc, "behind the scenes" glimpses into what resides behind reputations and hype.

This movie veers between an illuminating look into a.very interesting person and career, and an examination of a sometimes uncomfortable relationship between documentarian and subject. The director is very awkward, pushy, intrusive and insensitive at times but the dynamic between he and Williams is of interest (when it isn't off putting).

One thing that did strike me as being a bit disingenuous is that it neglects to mention the part that other songwriters and composers played in most of Paul Williams' best known songs. Williams was chiefly a lyricist while the music was written by others, mainly Roger Nichols and. Tony Asher. I'm not trying to diminish Mr. Williams in any way...he is a considerable talent and a worthy subject who deserves to have his story told, but this aspect of his career is subject to hagiography here.

The reason I was interested in seeing "Paul Williams Still Alive" is because of his recent and entirely unexpected entrance into the limelight at the Grammy Awards. When the enigmatic French band Daft Punk won the award for Best Album, folks were wondering how they'd accept the award. After all, this group's members are anonymous-- wearing strange getup that conceal who they are. So their representative to speak for them was Paul Williams, as he'd produced some of their music. Imagine...a European electro-pop group whose front man is the 1970s TV and recording icon Paul Williams. His tragically unhip songs today (such as "Rainy Days and Mondays" and "Rainbow Connection") are not the sort of stuff you could imagine Daft Punk listening to, that's for sure! To me, THIS makes for a great story...and isn't even mentioned in any way, as the documentary came out just before his work with Daft Punk.

As for the documentary, I have very mixed feelings about it. On the positive side, it celebrates the huge number of hit songs he gave us in the 70s and 80s--song you heard all the time during that era. It also gives you a nice portrait of the man today--having worked on his substance abuse recovery to create a nice, but busy, life for himself. All this is great. But, the film also has a huge distraction--the filmmaker, Stephen Kessler. He is much of the film--as unlike many documentaries where you don't see or even hear from the filmmakers themselves (my favorites, by the way), much of the film is Kessler talking about himself and insinuating himself into Williams' life. And I didn't care that Kessler was like a proverbial 'ugly American' in that he refused to eat the local food when he was traveling in the Philippines...who cares if he's like this or not since the film is NOT supposed to be about him!?! Maybe I am reading something into it, but he just seemed annoying (his interviewing style was obnoxious at times) and I didn't want to hear about him and his love for Williams. I just wanted to see and hear Williams. As for Williams, he seemed like a nice guy--and put up with a lot and seemed to roll with what came. All in all, it was nice to see that he is a happy guy who isn't spending his time looking back but without Kessler's ever-present presence, i think it would have been a much better film.

To any filmmaker out there reading this, why don't YOU make a good documentary about Paul Williams? He's very interesting and a worthy topic for a film...and you couldn't possibly do a worse job than this mess!!

Stephen Kessler, filmmaker and devout Paul Williams fan, says at the beginning of this would-be documentary that he didn't know singer/songwriter/actor Paul Williams was still alive. That's about as unbelievable as what follows. Kessler and his cameraman trail Williams around for two years, getting snippets of conversation on tape but mostly relying on TV clips. It seems Paul Williams, who was everywhere at once throughout the 1970s, is uninterested in talking about his past; 20 years sober by the end of filming, Williams is described by Kessler as one who looks forward and not back. That's fine, but there's no feeling for the crying fans in the audience who still hold Williams' music sacred, and there's no love from Williams over his achievements (he's a different person now). The subject is so petulant and uncommunicative that to say he's been changed for the better through sobriety is like a slap in the face. Williams is so much more alive--colorful and outrageous and funny--in those old variety show segues that one has to ask: is getting sober such a strain that it drains the life out of a person? **1/2 from **** (mainly for the music, and the brief on-camera interviews with Williams' long-time band leader, who seems like a genuinely nice person).

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.

I saw this film at the Cleveland International Film Festival, with the director Stephen Kessler, and Paul Williams in attendance. The film is funny, poignant, sad, ecstatic, and riveting.

Is the film about Stephen or about Paul? Both. Stephen reveals himself as a worshipper of pop culture and the 70s, and the target of his adoration, Paul Williams, is a fully- realized three-dimensional icon of his generation. The portrait of the eponymous artist is mirrored in the eyes and film of the director. I loved the obvious admiration and adoration shown throughout the film, and it doesn't hide or white-wash its subject's errors and faults.

Truly a beautiful and elegant film. See it.

I only just re-discovered Paul Williams a year ago, although he was a clear memory from my childhood. Williams was a ubiquitous TV personality in the 1970s. And although the film will definitely appeal to nostalgia addicts of a certain age, it has more than enough good humor and emotional resonance to draw in anyone who's never heard of him (everyone's heard his songs). Kessler approaches his subject with great love, respect, and a sometimes intrusive curiosity. Williams responds at first with suspicion, then eventually trust. The growing affinity between subject and filmmaker almost becomes a second plot line - the primary one being Williams' manic career. It's edited with wit and, dare I say, pathos. I sat fairly close to the screen, and there were a few moments where shaky camera-work bothered me, but that's an inevitability whenever a filmmaker obsessively attempts to capture the essence of a childhood hero. The film also functions as a meditation on the true meaning of success and happiness. It's a lesson sorely needed in an aggressively competitive world, but the film doesn't preach. You walk away with some of the most beautiful songs ringing in your head. A beautiful film.

I'm sorry, kids....having written "The Rainbow Connection" and taking some time off for Recovery does not, in any way, give anyone the complete picture or even the scope of Paul Williams' music. I was SOOOO disappointed in this film. I felt sorry for Williams and his wife...this guy just started following them around and filming everything - no discretion, no important questions...and a focus on a small handful of songs from Paul Williams' incredibly prolific career. He asked NO intelligent or even non-cloying questions - like where were you born, what did you like in school, what was it like working with Kris Kristofferson and Barbra Streisand, who's your favorite Muppet?, has your process changed? What are you working on now, any new music? Etc...etc....this was done by a guy who made a documentary expecting Williams to come up with the whole script....he did no research, never listed Williams' credits or mentioned how many movies he wrote for...just loved his 'rainbow connection' sung by folks from all over the world. He spent a fortune and did nothing but dull Williams' reputation...I should have realized from the start the 'maker' was a jerk...why would you even THINK he was dead....the internet is readily available to use for RESEARCH as well as for publishing your own flat ideas.

Earlier this summer, I had the unexpected pleasure of seeing Paul Williams. Yes, THAT Paul Williams. The prolific, Oscar- and Grammy-winning '70s pop composer ("We've Only Just Begun," "Evergreen," "You and Me Against the World," "Rainbow Connection," "Theme from 'The Love Boat," and many more). His name caught my attention in eighth grade, when I was starting to discover songwriters and learned that it was he who had written hits by different performers I liked. I even bought one of his albums. But then he embarked on a singing and acting career and became one of the most ubiquitous personalities on '70s TV, appearing on the Carson "Tonight Show" nearly 50 times, numerous other talk shows (Mike Douglas, Dinah Shore), game shows ("Hollywood Squares"), crime dramas (he got into a shooting match with Angie Dickinson), sitcoms, and even "Circus of the Stars" (where he jumped out of a plane). I'm sorry, but this was just too much Paul for me, and I started to tune him out.

Until seeing this documentary, I never paid much attention to the person behind the stocky, five-foot-two frame, shaggy hair, tinted aviator specs, glib personality, and warbly voice. His story has the usual elements: childhood loneliness, need for acceptance, rise to A-list fame and fortune, fading star, descent into alcohol and drugs, rehab, triumph (he has been sober for 25 years), and contentment upon finally finding and accepting his place in the world.

But what makes this film so compelling is that it was made by a fan of my generation who became a successful director. Although it breaks the rule that a documentarian should not inject himself into his work, the developing bond between filmmaker and subject (Stephen Kessler followed Williams, his childhood hero, for three years) proved to be a worthy secondary story. That Williams would open himself up to a stranger, and the warm friendship that developed, give the documentary a more informal, personal dimension than Ken Burns' best work, without Michael Moore-style political messages. Kessler admits to once wanting to be Paul Williams, and I found myself wanting to be Kessler — to follow a childhood hero and become buddies with him. How cool is that! "Still Alive" is a serious work, but neither Williams nor Kessler takes himself seriously, resulting in candid, funny, heartwarming moments, not to mention the film's self-deprecating title.

I was intrigued by the coverage of Williams' acceptance of an invitation to perform in, of all places, the province of Mindanao in the southern Philippines — the notorious part of the country that American tourists are urged to avoid because of Al Qaeda threats. Fortunately, not only did the 8,000-mile trek proceed terror-free (including the six-hour bus ride through a jungle), but Williams felt much love from throngs of fans in this far-off land, known for its affinity for sweet, sentimental music. He had flown back to the '70s.

As if the film weren't remarkable enough, what followed was a live Q&A with Williams himself, now a fit 71, and director Kessler. The audience at the Gene Siskel Film Center in Chicago was mostly middle-aged, but there were also seniors and kids, including an 11-year-old who asked the diminutive composer whom he admired growing up (Paul's answer: Mickey Rooney, because he was short, famous, and still got the girl). The graciousness, honesty, humor, wisdom, dignity, and warmth emanating from the stage exceeded my expectations. I learned that Williams' lyrics about loneliness, heartache, and hope really did come from his heart, and that he continues to be gratified by the connection that millions feel to his songs.

In just two hours, I grew from simply enjoying Williams' work to admiring him, and in some ways even identifying with him. Before I go to bed tonight, I think I'll play my piano-bar rendition of "Rainy Days and Mondays." There's still hope for me yet.

Stephen Kessler is an annoying, self-aggrandizing blow hard who manages to make this movie all about himself.

I saw this last night at about 3:00 AM. As a songwriter, as a Carpenters fan, you'll see the self destruction the drug use and ultimately the salvation of one the most poignant songwriters of the 1970's. I was one of the many that thought Paul Williams was actually dead. To see him moving on in life... Still writing, performing, and honored... It gives one hope that in the end, if one stays true to themselves, their craft and the people that they love, it'll all work out in the end.

There's a couple of times that you get to see him with his dander up. But mostly, you get to understand the killer instinct that inhabits every songwriter in their quest to write that perfect tune. A take no prisoners attitude. He's moving forward, and if you just wanna look back in anger or regret, then don't come a callin'!

Yes Paul, we all will be remembered for the things that we say and do, ...and you haven't done so bad yourself.

Kat Holiday