New PBS film shows why musical giant Hamlisch was marvelous
Pittsburgh music lovers had the privilege of getting to know Marvin Hamlisch at concerts over the last 20 years of his life, including 17 as principal conductor of the Pittsburgh Symphony Pops, a post he held until his death Aug. 6, 2012.
People had known his music for a long time. He was 29 in 1973 when he won three Academy Awards on the same night, two for “The Way We Were” and one for “The Sting.” Two years later, he wrote the breakthrough Broadway show “A Chorus Line.”
Yet, encountering Hamlisch as an entertainer on stage was a different experience from enjoying his music because we got to know him. We learned about his life through an endless supply of great stories about celebrities he'd worked with, always told with mildly self-deprecating wit. We saw his boundless enthusiasm for people and the music he loved. And, we saw his sense of humor was genuinely spontaneous, not pre-written jokes.
Many tributes have been offered to Hamlisch since his death yet a new television documentary called “Marvin Hamlisch: What He Did for Love” reaches another level in evoking the person we enjoyed so much. The 90-minute show will be telecast Dec. 27 nationally on PBS and locally on WQED.
Producer, director and writer Dori Berinstein spent more than a year creating the show, drawing on family home movies and a vast amount of film and television material. She interviewed more than two dozen people, from his widow Terre Blair Hamlisch, to Barbra Streisand, Carly Simon, Steve Soderbergh, Melissa Manchester and many more. Berinstein knew Hamlisch from being the producer of the last two shows he worked on.
Berinstein's wisest choice may have been to let Hamlisch tell as much of the story as possible. We hear from him how he got into the Juilliard School when he was 6 and why seeing “Hello Dolly” on Broadway showed the superiority for him of theater over film. He explains why “The Way We Were” theme had to come back at the end of the film just as Streisand brushes back Robert Redford's blond hair, and what inspired a “whoosh” in the “Ice Castles” theme.
While there is footage from Heinz Hall, it doesn't include the spontaneous wit that made his concerts so remarkable. Nor is there anything about his work with Groucho Marx. Berinstein said in an interview omitting Groucho was a big regret but that there wasn't enough documentary material on the subject.
Much of the opening of “What He Did for Love” depends on home films and scrapbooks kept by Hamlisch's mother, sister and cousins. Terre Hamlisch says her husband kept a lock box in which she found a letter from his father after he won the three Academy Awards, the questionnaire she gave him before their first date and a few other items.
“He was not one to live in the past,” she says. “I think people would have been very surprised to know a lot of the awards he won were in a drawer behind him. That was then. This was now. He just wasn't concerned with accolades. He was very concerned with the present.”
Near the end of the show we hear one of his final songs, “While I Still Have the Time,” written for the show “The Nutty Professor,” which is unfinished. It is poignant now in a way similar to George Gershwin's last song, “Our Love Is Here to Stay.”
Mark Kanny is classical music critic for Trib Total Media. He can be reached at 412-320-7877 or email@example.com.
Show commenting policy
TribLive commenting policy
You are solely responsible for your comments and by using TribLive.com you agree to our Terms of Service.
We moderate comments. Our goal is to provide substantive commentary for a general readership. By screening submissions, we provide a space where readers can share intelligent and informed commentary that enhances the quality of our news and information.
While most comments will be posted if they are on-topic and not abusive, moderating decisions are subjective. We will make them as carefully and consistently as we can. Because of the volume of reader comments, we cannot review individual moderation decisions with readers.
We value thoughtful comments representing a range of views that make their point quickly and politely. We make an effort to protect discussions from repeated comments either by the same reader or different readers.
We follow the same standards for taste as the daily newspaper. A few things we won't tolerate: personal attacks, obscenity, vulgarity, profanity (including expletives and letters followed by dashes), commercial promotion, impersonations, incoherence, proselytizing and SHOUTING. Don't include URLs to Web sites.
We do not edit comments. They are either approved or deleted. We reserve the right to edit a comment that is quoted or excerpted in an article. In this case, we may fix spelling and punctuation.
We welcome strong opinions and criticism of our work, but we don't want comments to become bogged down with discussions of our policies and we will moderate accordingly.
We appreciate it when readers and people quoted in articles or blog posts point out errors of fact or emphasis and will investigate all assertions. But these suggestions should be sent via e-mail. To avoid distracting other readers, we won't publish comments that suggest a correction. Instead, corrections will be made in a blog post or in an article.
- Pittsburgh Symphony Orchestra’s ‘Divine Travel’ embraces the quirky
- Judy Collins still finds magic in picking music
- Through the years, Rogers keeps his focus on entertaining
- Priory, Downtown, to host benefit for women’s chorus
- ‘Heroes and Villains’ evokes array of emotions in Pittsburgh Symphony Pops season opener
- Photo gallery: Gaslight Anthem fires up sold out crowd at Stage AE
- Pittsburgh Symphony Pops goes to the movies for ‘Heroes and Villains’
- Pittsburgh Opera hits diverse notes in gala season opener
- Review: Mintzer’s big band takes on ’60s and ’70s rhythm-and-blues
- Bob Seger adds Pittsburgh date to tour
- Photo gallery: Judas Priest hosts heavy homily in the Steel City