Robert Evans stars in, narrates KID STAYS IN THE PICTURE - a documentary about the career of Mr. Evans.Mr. Evans' career in the entertainment business started with noted actress, Norma Shearer, asking Mr. Evans if he wanted to portray her husband, in an upcoming film.A story like this - a story like that of Mr. Evans' life, can only happen in one place; Hollywood.KID STAYS IN THE PICTURE follows Evans' career, and, just as promoting the products he's made, so does Mr. Evans deliver a documentary that's more public relations, than anything else.To tell one's own story inevitably means you're going to gloss over certain events, while building up others. For example, Mr. Evans' 7 marriages are barely mentioned, save for that to Ali McGraw.But, that glossing over 'details' can't really be held against him. The film business is all about illusions. While Mr. Evans has been involved with 'hits,' not all of them are of the high quality of GODFATHER. He also produced SLIVER. It did make money, but, no one would put these two projects in the same category.But, making a 'successful' picture means it made money - having it ALSO have good response is a bonus, but, not the major point of making a film.Mr. Evans is a beloved character, still, in Hollywood. With his square-framed glasses, his swept hair, Mr. Evans IS a character, both literally, and figuratively. He's a Sammy Glick. As the saying goes, there's no such thing as bad press, so goes this film. It comes off more as a CV - a reumé, than, an honest, fair, no-hole barred telling of Mr. Evans' business life. Even as the end-credits role, we're given an impression of Mr. Evans, by Dustin Hoffman, in which 'Bob' speaks in that oily, faux-charming way, that is such an image of what many believe to be a 'Hollywood insider.'Like any resumé, the film's last shot is of Mr. Evans' most current (at the time this film was made) projects financial standings.As long as you take this story with a bit of disbelief, it's harmless. The memories of a Hollywood player, filtered through ones own recollections.

The Kid Stays In the Picture is another in a series of stylistic documentaries over the last few years that seems to be reinvigorating the form by using different narrative and filmic techniques in service to a story. In Winged Migration it was an interplay of raising birds from hatchlings, mixing great flying footage with special effects, in The Fog Of War it was juxtaposing a man's life (ex-Defense Secretary Robert McNamara) with his beliefs, & then with special effects and facts not widely known, but this film goes the furthest in pushing this technique, to almost docudrama, and it succeeds brilliantly. As a work of art it's a tour de force. It's subject matter may seem a bit more problematic- it is not the life of a major political figure, but of a Zelig-like Hollywood mogul- Robert Evans- whose rise and fall is chronicled mostly by his own narration, & the computer effects of taking still photographs & making them come alive. There is very little of the talking head phenomena that infects most film documentaries. In his behind the scenes with the stars life Evans resembles rock DJ Rodney Bingenheimer from the documentary The Mayor Of Sunset Strip, and in its blend of subjectivity with reality it shares a kinship with the Harvey Pekar docudrama American Splendor, yet it succeeds far more than either of those two films because its subject is not an oddball, and has actually led a life worth examining. Neither Bingenheimer nor Pekar ever had the personal success Evans did…. Filmmakers Brett Morgen and Nanette Burstein have achieved something rare in the film world- a documentary that both pushes the genre's boundaries yet achieves what all but the very best documentaries achieve- insight into its subject matter. Evans is a man who is both a starmaker and starstruck fan, barren chaff yet sage insider. He is truthful- to a degree, arrogant, yet self-deprecating- a refreshing turn from many self-satisfied and dishonest documentaries. This film was clearly worlds better than Bowling For Columbine- the doc that won the Oscar that year, yet the reason for its not winning, nor even being nominated, is obvious- aside from the fact Evans made many enemies in Hollywood. Most viewers will forget it is a documentary while it's being watched. So effectively subversive are Morgan and Burstein in their technique that it works against them in terms of recognition. Yet, this film, not Columbine, will be studied in film school.As for the features, there is not much- no making of documentary, just assorted interviews with celebrities at the film's premiere, and Evans accepting some awards. The commentary track by Morgan and Burstein is superb, one of the best explications of the marriage of technique with subject matter you're likely to hear.A cynic might argue that the film is an homage to a talentless actor who just had a knack for being in the right place at the right time, and to a degree that's true. But, the film is really about the solipsistic nature of all people. We know that. We are that, by and large. It's only when we see that in people richer, more famous, and more rewarded that we look away from ourselves. The film opens with a quote from Evans: 'There are three sides to every story: my side, your side, and the truth. And no one is lying. Memories shared serve each one differently.' Rarely has such truth been admitted by anyone in film, rarer still something done with it. This is why The Kid Stays In The Picture is a great documentary.

......oddly enough I had never heard of him before this came out--Robert who?? Turns out of course I should have--the guy produced Chinatown, Godfather and Marathon Man, along w/ sooo many others. Interesting indeed. I was fascinated to see him climb the rungs of Hollywood success, a lot of it having to do w/ attitude and not taking no for an answer. You hadda like those two Russki types who were his bosses as well.Startling also the way his career cratered in the 80's due to drugs and bad career choices(Cotton Club??)--such a contrast to his 70s peak. Only real problem I had w/ the movie--they should label some of the starlets on his arms in all those stills, ya know? I sorta picked out Joan Collins at 28 in one, but a series of blondes of the months can be confusing to remember. Who is gonna recognize Hilary Duff in 30 years who wasn't there, after all? Karen Black who?Overall worth a watch.*** outta ****

"The Kid Stays In The Picture" plays a lot like an E! True Hollywood Story, chronicling the rapid rise,fall, and rise of producer Robert Evans, but with a few crucial differences: First off, it's much prettier, with images flying around the screen, bringing the past completely to life. Second, it's narrated by Evans himself, in his own cool, croaky voice, so it doesn't go straight for the pity factor, with people he knew providing their own dark revelations about his lifestyle. He really gets into the telling of his own life, and just amazes you with all that he's been through. Here's a guy whose whole life has been about making movies, and he's here to tell you about how he fired Francis Ford Coppola four times while making the Godfather, and how his life left him for Steve McQueen. He's seen the entire scope of life: love, despair, joy, frustration, relief. It's just so enthralling hearing him narrate his story and see scenes from his movies paralleling them in eerie symmetry. It never actually takes itself to seriously, and you get the feeling that this guy doesn't regret his life at all. The stories he tells are pure Hollywood: He talks about the time he had to sell a movie at Cannes with a poster and nothing else, and then goes on to speak of when Jack Nincholson got him back his house. He doesn't take the easy way out and make anyone the villain, he just creates a cast of characters that come and go in the story. It's a memoir, really. And it might be the best story he's had a part in.