Paying tribute to a talented, beloved entertainer is undoubtedly a noble gesture, especially for someone widely regarded as a kind, gentle soul in an industry all too often known for its self-absorbed personalities and who, sadly, passed on while still in the prime of life. Such is the sincere intent behind this third documentary feature from director Colin Hanks, a warm, respectful homage to the ... Read more
Paying tribute to a talented, beloved entertainer is undoubtedly a noble gesture, especially for someone widely regarded as a kind, gentle soul in an industry all too often known for its self-absorbed personalities and who, sadly, passed on while still in the prime of life. Such is the sincere intent behind this third documentary feature from director Colin Hanks, a warm, respectful homage to the late John Candy (1950-1994). The Canadian-born actor-comedian made quite a name for himself in the ʼ70s, ʼ80s and ʼ90s, first as a member of Toronto’s Second City comedy troupe, then as a regular on the edgy sketch comedy TV show SCTV and then as a colorful character actor in more than 30 films. But, as this release shows, Candy was more than just a well-known funnyman. He was also a writer, director, producer and businessman, as well as a devoted husband and father. This reputation made him widely regarded as one of the nicest people in show business, a man with a big heart who made it a practice to take care of others, no matter what their needs might be. These are the qualities that come through loud and clear in the film in the many interviews with those who knew and worked with him, including television colleagues Eugene Levy, Catherine O’Hara, Andrea Martin, Dave Thomas, Martin Short and Robin Duke, as well as his comedy and big screen peers Steve Martin, Bill Murray, Dan Aykroyd, Macaulay Culkin, Tom Hanks, Mel Brooks, Don Lake and Chris Columbus, among others. They’re also apparent in the ample archive footage featuring conversations with Candy, backed by insights from his wife Rose, his children Chris and Jennifer, and an array of childhood friends and industry colleagues. And the picture’s numerous clips from his TV and movie work serve as welcome reminders of just how gifted he was as a performer, a thoroughly enjoyable trip down Memory Lane. However, in telling his story, the film has a tendency to become somewhat repetitive, depicting its subject with so much boundless reverence that it almost seems timid in telling a deeper and more complete story. In its defense, “I Like Me” doesn’t portray its protagonist with a whitewashed Pollyanna narrative, as evidenced by references to issues with his weight, ghosts from his past and unexpressed fears of not measuring up no matter how hard he tried, attributes that contributed to turning him into something of a people pleaser who had trouble turning down others while not always taking care of himself. But the overarching kid gloves approach employed here can be likened to the filmmaker walking on eggshells at times. Certain aspects of Candy’s story receive noticeable short shrift, such as his impressive dramatic turn in a cameo appearance in director Oliver Stone’s “JFK” (1991), a role that may well have provided moviegoers with an all-too-brief glimpse of greater acting abilities that never had a chance to further develop (a few clips from this release are included in the documentary but never really discussed). That kind of depth, regrettably, is lacking here and would have made for a better, fuller profile instead of repeatedly being told the same things over and over again. It’s a shame that this gentle giant of a man and gifted entertainer left us as young as he did, and it’s a safe bet that many of us probably would have liked to have known him and his range of capabilities better. However, when it comes to this biography, it often feels like we’re only getting part of the story, leaving us wanting for more that, unfortunately, we’ll never have the chance to savor and enjoy.Show less
