TELLURIDE – The beginning of the new documentary “Bright Lights: Starring Carrie Fisher and Debbie Reynolds” features audio of its two legendary subjects talking to each other over a montage of 16mm family films. If you know anything about this iconic mother and daughter duo, it’s that any conversation between them will be smart, witty and feature a few snappy comebacks. What becomes even more apparent in Alexis Bloom and Fisher Stevens‘ new documentary is the deep affection they have for each other. Granted, that wasn’t always the case to the general public.
Reynolds is a triple threat from Hollywood’s golden age who made her name on the big screen in films such as “Singin’ in the Rain” and “Tammy and the Bachelor.” Her daughter, Carrie Fisher, unexpectedly became a household name after the B-movie she thought she’d made, “Star Wars,” became a global phenomenon. But they always seemed to very different people. Reynolds became best known for her regular Las Vegas nightclub performances while a grown up Carrie, who acted infrequently, was tabloid fodder over her battles with drug addiction.
Many people, in fact, still think of Carrie and Reynolds’ relationship as combative because of the former’s 1987 semi-autographical novel “Postcards From The Edge” which Carrie and director Mike Nichols turned into a critically acclaimed movie three years later. The film found Meryl Streep as a semi-successful Hollywood actress who is forced to live with her mother (basically Reynolds played by Shirley MacLaine) after a stint in rehab. And, surprise, they don’t get along. Bloom and Stevens smartly include footage of ‘Postcards’ and Carrie’s thoughts on it early on in “Bright Lights” to contrast how different things eventually turned out.
Over 20 years after ‘Postcards,’ Reynolds has spent years living at Carrie’s charmingly eclectic compound (and a home that is probably noteworthy enough for its own documentary). Carrie remarks how their dwellings are separated by one “daunting hill” and as she carries a soufflé down some steps, “I always come to her.”
Even in her 80’s Reynolds is still surprising her offspring (Carrie’s brother Todd also features prominently in the film) by lining up gigs because, as Carrie believes, she’s still that same nightclub performer she was 40 years ago. The film chronicles what turned out to be Reynolds’ last two public performances. At the Mohegan Sun in Connecticut, she charms the crowd coming to life the minute she steps into the spotlight. It’s in stark contrast to the end of the show as she can barely get down the stage steps. Before going on stage she tells the filmmakers she on remembers being nervous performing for the Queen of England. “It’s not ‘Macbeth,’” she says.
The filmmakers spend a good amount of time focusing on Reynolds’ career, her marriage to Eddie Fisher (he scandalously left her for their neighbor, Elizabeth Taylor) and her second marriage to Harry Karl, a seemingly affluent businessman who lost their fortune gambling. There wasn’t time to touch on Reynolds’ third husband or the short-lived hotel and casino she owned in Las Vegas, but her collection of Hollywood memorabilia (at one time the world’s largest) including Marilyn Monroe’s subway grate dress from “The Seven Year Itch” and a pair of Judy Garland’s ruby red slippers from “The Wizard of Oz” isn’t ignored. Reynolds dreamed of opening a museum to house all the items, but it never came together. Instead, the collection was sold off in three auctions to pay lingering debts and we watch as she sits down to see her beloved collection of Rat Pack suits sold to the highest bidder.
As “Bright Lights” continues Reynolds’ health worsens. She appropriately sets her final show back in Vegas, but has to use as a mobility scooter to make her way through the casino unrecognizable to the crowd milling about. Still, it’s a special moment when Carrie comes on stage to join her for a number (a moment written, of course, by Reynolds prompting Carrie to ask after getting the script, “Who talks like this?”) That performance features one of the doc’s great surprises: Carrie’s wonderful singing voice. You would have expected that from the daughter of Reynolds and 50’s hitmaker Eddie Fisher but since Carrie never wanted to follow in their crooning footsteps it just never became common knowledge.
Eddie, Carrie and Todd’s father, isn’t relegated to montages of old family films and photos. In footage that was captured before filming officially began, Carrie visits him at his bedside. It’s three months before his passing and the 82-year-old Fisher is frail and can barely speak, but their conversation is an emotional touchstone considering how distant his relationship was with both his children over the years.
“Bright Lights” isn’t just the Debbie Reynolds story, however. The movie focuses as much attention on Carrie’s life as her mother. The filmmakers tag along with Carrie when she makes an appearance at FANdom, a genre convention which she describes as giving the “Star Wars” faithful a “celebrity lap dance” and that the event “is a strip club except they don’t stuff cash in your underwear.” But, for a public figure who for years had difficulty coming to peace with her legacy in the pop culture phenomenon it’s fun to watch her interact with the fans and not only take photos, but physically embrace them.
And yes, “Bright Lights” does follow Carrie as she goes to London to shoot “Star Wars: Episode VII: The Force Awakens.” In a rented home we catch her working out with a physical trailer brazenly revealing that for the past year she’s had to send Lucasfilm details of her weight loss including measurements. At one point when Carrie is looking the other way the trainer takes her can of Coke and empties it into the sink (Carrie drinks a lot of Coke in the movie). Carrie says she’s often asked if she’s kept in touch with both Harrison Ford and Mark Hamill over the years and she jokes they run into each other at the “celebrity café” but that “we all just look more melted.”
The context for the London interlude (which also features a visit from her lifelong friend Griffith Dunne) is that while Carrie is away shooting the new “Star Wars” she’s preoccupied thinking about her mother back home and that concern turns out to be warranted as Reynolds’ health is worsening.
The last section of the picture focuses on Carrie dealing with the preparations for the 2015 SAG Awards where Reynolds was honored with a lifetime achievement award. During a rehearsal before the ceremony she’s on the phone with someone who is assisting Reynolds and learns her mother may not be well enough to attend the event. The enormity of what’s happening hits Carrie like a rock and she moves away from the camera trying to hide her emotions falling to the ground. It’s an unexpectedly touching moment that defines the picture.
“Bright Lights” is not about all the Hollywood history, their numerous difficulties with the tabloids or Reynolds and Carrie’s entertaining banter (O.K., maybe it’s a little about that). What the film is really about is the bond between a mother and daughter who through it all can still bring a little joy into each others lives and the daughter who is holding onto that moment as long as she can. [A-]
“Bright Lights: Starring Carrie Fisher and Debbie Reynolds” will also screen at the 2016 New York Film Festival and will debut on HBO sometime in 2017.
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