There are three sides to every story. My side, your side and the truth. And no one is lying. Memories shared serve each one differently. - Robert Evans (and the opening title card to "The Kid Stays in the Picture")

Ever meet a real bullshit artist? You know, a guy that doesn't do any real work, but makes it seem like he does. Doesn't know how to do anything but talk and mostly what he talks about is how awesome he is. I've known a few in my time but none as charismatic, seductive and more full of their own shit than Robert Evans. I can say I've met Evans in a way because I've seen the documentary about him called "The Kid Stays in the Picture."

Now, let's get one thing straight. By "bullshit artist," I don't mean to put down Evans, really. He's a fascinating man and he's played an important role in much of late 20th century cinema, in particular the 70's. To hear Evans tell it, he practically made "Rosemary's Baby," "The Godfather" and "Love Story." He pulled Paramount Studio out of the crapper in the late 60's and early 70's. And he did it when he was in his 30's. In fact, it's true; Evans did have a major role in getting these films made. Coppola and Polanski and Arthur Hiller practically owe there careers to the guy.

And to call "The Kid Stays in the Picture" a documentary is a bit misleading as well. The film is a 100 minute book-on-tape with pictures where Evans reads his autobiography of the same title. This is all Evans' side of the story, told in his words, in his voice. Sure, there are some film clips and some old interviews from things like the "Mike Douglas Show" and "Dinah," but overall, this is all Evans. And he is simply fascinating and alluring.

I could go on and on about all Evans has done in his life, or claims to have done, but why negate the impact of this film? It tells the story exceptionally well. And filmmakers Nanette Burstein and Brett Morgan do more than just present a book on tape... that's what the film might be in the hands of lesser filmmakers. In fact, their work here is stunning, a practical primer for documentaries. The most awesome and eye-widening thing about there film is the manipulation of still images. Taking old photographs and newspaper clippings, the filmmakers and their underlings create a 3-D postcard world of kitsch and glamour, Americana and Hollywood, sexuality and business, that punctuates the underlying theme of Evans' life. It's captivating. This isn't just for movie fans or people over 40, this film will seduce any one who sees it, of any background, with any interests, of any age. Evans is as charismatic as Jesus, as colorful as a box of crayons, as alluring as the young Elvis.

If nothing else, the elongated film clip of a young Dustin Hoffman which plays during the end credit roll is worth the price of admission. You simply don't want to miss this film.

Note:

Evans' work as an actor in "The Man of a Thousand Faces" (where he played Irving Thalberg), "The Sun Also Rises," and "The Fiend who Walked the West" is featured here.

Films he produced which are featured include "Chinatown," "Marathon Man," "Black Sunday," "Urban Cowboys," "Cotton Club," and "Popeye."

Films championed by Evans as the head of Paramount featured in the film include "Rosemary's Baby," "Medium Cool," "Love Story," "Harold and Maude," and "The Godfather."

Evans' relationship with Ali Magraw, whom he married and with whom he father a child, also allows for footage from "The Getaway," where she met Steve McQueen.

Personal Note: I saw the film at a sneak preview sponsored by the Austin Film Festival at the Dobie theater in Austin on 8/1/02 with Morgan in attendance. He did a Q&A after the film which was quite interesting.

Report Card Content: A+ Completeness: A+ Cinematography\Lighting: A+ Special Effects\Make Up: A+ Music: A+ Final Grade: A+

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