In 1985, seasoned puppeteer Richard Hunt was growing exasperated with his attempts to find a voice and personality for a mediocre, bit-part furry red muppet. Believing it to be futile, he threw the role to Kevin Clash, a young, talented puppeteer who had only recently joined the Sesame Street crew. Adopting a falsetto tone and a desire for a muppet to represent 'love and kindness', Elmo was born.
Marks' story is ostensibly that of Kevin Clash, but we soon learn that the puppeteer and his puppet are essentially one and the same. Growing in a large, working-class family in Baltimore, puppetry was always Clash's calling. Ignoring the social embarrassment of the hobby, the artform's future star would perform impromptu shows for local kids in his garden, build new muppets out of his parents' clothes and eventually garner his first local TV role before he finished high school. Those same kids who teased him would now vote him most likely to be a millionaire. They weren't wrong.
Whoopi Goldberg is the somewhat questionable narrator of the rest of Clash's journey to stardom. With a lot of hard work and the odd phone call from his mother on his behalf, Kevin is soon rubbing shoulders with the likes of Frank Oz (of Miss Piggy and Grover fame), muppet designer Kermet Love, and eventually the father of the artform, Jim Henson himself. The grandfather-grandson relationship with Love is the film's high point; inviting the young puppeteer into his workshop, Henson's chief designer unlocks the magical world that Clash has longed to immerse himself in. Thereafter, it appears only a question of how hard Clash is willing to work until he gets his big break with Elmo.
There is a whole other documentary in the character of Elmo himself (and I'm sure they exist), but to see the giant Clash operate the lovable monster as he meets Make-A-Wish children and their families is as heart-warming as their situation is heart-breaking. To be responsible for and continue to operate a character that means so much to so many is a wonderful testament to the character of Clash himself. Given a world dominated by the gritty and complex, Elmo's simple message of love and care is a much-needed comfort - for all ages and sizes.
There are admittedly parts of the puppeteer's story that Marks chooses not to explore; the black Clash is implored to use his race as a card to get himself onto a Jim Henson project, yet the question of race is not mentioned thereafter (despite the obvious lack of black puppeteers in most of the footage shown). Similarly, his relationship with his ex-wife is skimmed over despite allusions to problems associated with treating their new-born daughter as just another puppet. If the intention was to keep a story about Elmo fairly up- beat and happy, fair enough, but there's not much of a moral message in simply ignoring the lulls of life.
Having not grown up exposed to the Sesame Street phenomenon or the wider cinematic world of Jim Henson's band of muppets (Muppets: A Christmas Carol still confuses me to this day), I was concerned I would miss something with Marks' 'Being Elmo'. I need not have worried. While Mark's film is not the in-depth look at the artform of puppetry that many may have hoped, it is nevertheless a charming biopic about Clash and the rewards of hard work and persistence in chasing one's dream. And ultimately, it is rather comforting to know that the love and care personified by Elmo is in no way artificial - if Clash wasn't the gregarious, warm character we see, would we think differently of the muppet on his arm?
Concluding Thought: If Elmo is a quintessentially Kevin Clash creation, when the puppeteer retires, does the puppet go with him?
Marks' story is ostensibly that of Kevin Clash, but we soon learn that the puppeteer and his puppet are essentially one and the same. Growing in a large, working-class family in Baltimore, puppetry was always Clash's calling. Ignoring the social embarrassment of the hobby, the artform's future star would perform impromptu shows for local kids in his garden, build new muppets out of his parents' clothes and eventually garner his first local TV role before he finished high school. Those same kids who teased him would now vote him most likely to be a millionaire. They weren't wrong.
Whoopi Goldberg is the somewhat questionable narrator of the rest of Clash's journey to stardom. With a lot of hard work and the odd phone call from his mother on his behalf, Kevin is soon rubbing shoulders with the likes of Frank Oz (of Miss Piggy and Grover fame), muppet designer Kermet Love, and eventually the father of the artform, Jim Henson himself. The grandfather-grandson relationship with Love is the film's high point; inviting the young puppeteer into his workshop, Henson's chief designer unlocks the magical world that Clash has longed to immerse himself in. Thereafter, it appears only a question of how hard Clash is willing to work until he gets his big break with Elmo.
There is a whole other documentary in the character of Elmo himself (and I'm sure they exist), but to see the giant Clash operate the lovable monster as he meets Make-A-Wish children and their families is as heart-warming as their situation is heart-breaking. To be responsible for and continue to operate a character that means so much to so many is a wonderful testament to the character of Clash himself. Given a world dominated by the gritty and complex, Elmo's simple message of love and care is a much-needed comfort - for all ages and sizes.
There are admittedly parts of the puppeteer's story that Marks chooses not to explore; the black Clash is implored to use his race as a card to get himself onto a Jim Henson project, yet the question of race is not mentioned thereafter (despite the obvious lack of black puppeteers in most of the footage shown). Similarly, his relationship with his ex-wife is skimmed over despite allusions to problems associated with treating their new-born daughter as just another puppet. If the intention was to keep a story about Elmo fairly up- beat and happy, fair enough, but there's not much of a moral message in simply ignoring the lulls of life.
Having not grown up exposed to the Sesame Street phenomenon or the wider cinematic world of Jim Henson's band of muppets (Muppets: A Christmas Carol still confuses me to this day), I was concerned I would miss something with Marks' 'Being Elmo'. I need not have worried. While Mark's film is not the in-depth look at the artform of puppetry that many may have hoped, it is nevertheless a charming biopic about Clash and the rewards of hard work and persistence in chasing one's dream. And ultimately, it is rather comforting to know that the love and care personified by Elmo is in no way artificial - if Clash wasn't the gregarious, warm character we see, would we think differently of the muppet on his arm?
Concluding Thought: If Elmo is a quintessentially Kevin Clash creation, when the puppeteer retires, does the puppet go with him?