When it comes to a first name, few throughout history possess the level of recognition a mere utterance of Liza maintains; it’s this sentiment that kicks off a documentary entitled “Liza: A Truly Terrific Absolutely True Story,” as we’re simultaneously introduced to the legend that is Liza Minnelli, overflowing with wit and her signature laugh while friends ranging from Mia Farrow to Ben Vereen possess no shortage of memories as they all reflect on the early decades of Minnelli’s illustrious career. Though it is difficult to completely escape the shadow of the talent that was her late mother, Judy Garland, the film knows to keep the spotlight fixated on Minnelli, even if the same movie finds itself unable to resist slipping into the traits and tropes signature of many a documentary and ultimately render it somewhat mundane.
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It’s odd, considering its over-the-top focal point, but director Bruce David Klein shows his ability to know where to keep that focus as the initial look into Minnelli’s past kicks off with a brief glimpse of Garland’s funeral, in the wake of which Minnelli found solace with godmother/entertainer Kay Thompson and developing her burgeoning skills in the process. Subsequent relationships would see Minnelli align with singer Charles Aznavour and Bob Fosse, the latter of whom would helm the theatrical adaptation of “Cabaret,” in which Minnelli would memorably take on the role of Sally Boyles. Propelled to Oscar success as a result, her friendship with composer John Kander would lead the “Chicago” co-creator to ask this newly-crowned celebrity if she’d consider filling in for the role of Roxie Hart when star Gwen Verdon fell ill; unexpectedly, Minnelli agreed, only under the condition that her name be left off the marquee to ensure audiences wouldn’t turn up in droves for her name alone. Imagine the surprise when the understudy was announced.
Veering away any further from Judy Garland might be considered impossible. When the film shifts back to the time when the mother and daughter performed together, Garland’s unusual jealousy becomes apparent. Additional heartache manifests when Minnelli’s disastrous number of failed marriages find time at center stage, even the trainwreck that was her years spent with her most recent spouse, David Gest, and the palpable chagrin from those who recollect. Minnelli’s own anguish over her unending wish to have children and an unfortunate inability to do so threatens to drag the film to utterly miserable depths. Still, Klein knows when to balance the sadness with levity when Minnelli’s fashion sense and development of her signature look receives a wealth of attention. Her rendition of “New York, New York” in the Martin Scorsese film of the same name may cause one to question the judgment of Robert De Niro when he initially viewed her performance as lackluster. He’s wrong.
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Separated by chapters, each carrying a title stemming from a classic Minnelli-ism or pivotal quote from another influential figure from her years in the business, the film does falter in regulating Minnelli’s later decades to an all-too-short montage and, as a whole, does little to differentiate itself from its documentary peers, much in contrast to the way Minnelli stood out from her own. It does remain difficult to ignore the unanimous sentiments from all who’ve taken part in celebrating Liza Minnelli, each of which seeing her as a selfless friend imbued with the ability to make anyone feel as if they’re the center of her life, from the moment they first meet to every encounter after. If, for no other reason, “Liza: A Truly Terrific Absolutely True Story” serves as an introduction to the entertainment legend or a reminder of all that happened to cement her status as more than a mere performer, this film deserves to take a bow. [B]