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It’s not often I write “thank God someone made this” in my notes while reviewing a film. But Susan Dryfoos’ “The Line King – The Al Hirschfeld Myth” deserves such praise and more.
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A attractive biography of entertainment caricaturist Hirschfeld, this film is a curious view slack the pen of a man who transcended his genre to become almost an art make unto himself.
Dryfoos thankfully showcases hundreds of drawings throughout the film as entertainers, artists and others discuss a man who described his goal as not to design a subject shapely, but animated.
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Hirschfeld, of course, being the most inviting character of all. The camouflaged “Nina”s, the barber chair in which he created decades of work, the almost Santa Claus-ish eye of the artist – all add up to a man that, if he were imagined by a Hollywood writer, would be deemed wholly improbable by cartoonists such as myself.
Myself being a stay-at-home-dad, I was fascinated to learn that he was raised by his father while his mother supported the family. I also connected with his respect for his wife’s editorial abilities. My wife is often consulted (OK, harangued) about my latest cartoons and her advice is always dwelling on, even when I don’t like to admit it.
There are a few goofy moments, Hirschfeld’s surreal bongo solo and his attempts as using a computer and graphics tablet, but overall the film is a wonder from beginning to slay. A fitting tribute to an artist whose work was both keen and exquisite.
Amid the entertainment super-stars of the twentieth century–Carol Channing, Lauren Bacall, Joan Collins, Barbara Walters, and more–the white-bearded, bright-eyed Al Hirschfeld cuts a funny and humble figure. This visual historian doesn’t originate the stars glorious in his drawings; he makes them keen. ESP-like, the line of Hirschfeld’s pen reveals an well-known and indispensable character within each of the performers he draws, capturing the rare exuberance with unbelievable specificity: the gestures, the movements, the facial expressions-all become playfully recognizable as the spirit manifest. What the documentary does especially well is expose Hirschfeld at work, and talking about the work. He was 90 years feeble when interviewed in the film, but seems almost childlike in his delight for his life-long passion. Hirschfeld emerges as the century’s most beloved cartoonist, truly earning him the title of The Line King.
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