THE LAST IMPRESARIO has potential as a documentary exploring a figure who has been crucial to the theatre scene in the last fifty or so years, but what could have been an incisive and revealing exploration of the said centrally unknown figure turns out to be something of a luvvie-fest.
The appearance of a typically full-of-it Alan Yentob at the documentary's outset is enough to set alarm bells ringing and it's all downhill from there. This is merely a collection of talking head footage as various figures praise the central character of Michael White and explain just how great he is and how much they love working with him.
While there is enjoyment value from seeing the likes of Richard O'Brien, John Cleese, and Bill Oddie up on the screen, others like Naomi Watts just embarrassingly gush with endless praise. White remains a mystery by the end of the thing, although by reading between the lines you can figure out he's awful with finances and seems to live on the charity of others these days. Sorry, but with THE LAST IMPRESARIO director Gracie Otto reveals that she's nowhere near in the same league as the leading documentary filmmakers of our time and this is nothing more than an insubstantial fluff piece - an extended version of the footage that always accompanies those "lifetime award" wins at awards shows.
The appearance of a typically full-of-it Alan Yentob at the documentary's outset is enough to set alarm bells ringing and it's all downhill from there. This is merely a collection of talking head footage as various figures praise the central character of Michael White and explain just how great he is and how much they love working with him.
While there is enjoyment value from seeing the likes of Richard O'Brien, John Cleese, and Bill Oddie up on the screen, others like Naomi Watts just embarrassingly gush with endless praise. White remains a mystery by the end of the thing, although by reading between the lines you can figure out he's awful with finances and seems to live on the charity of others these days. Sorry, but with THE LAST IMPRESARIO director Gracie Otto reveals that she's nowhere near in the same league as the leading documentary filmmakers of our time and this is nothing more than an insubstantial fluff piece - an extended version of the footage that always accompanies those "lifetime award" wins at awards shows.