Review The Swan Song (2022).

Veteran German character actor Udo Kier has appeared in over 200 films, since break the waves a Ace Ventura: Animal investigator. He has worked with everyone from Martin Scorsese to Rainer Fassbinder. He has played everyone, from the Pope to Hitler. She has the kind of familiar face that will make you reach for your IMDb app, a real “Oh, What like! “chameleon. It is therefore fitting that his first leading role, at the ripe old age of 77, is a real characterwith a capital C

After decades as a daytime actor in other people’s films, there’s something sublime about watching Kier master every scene of this sweet and cuddly drama, and he doesn’t miss the chance. He plays Pat Pitsenbarger, based on a real-life “queer legend” of the same name from Sandusky, Ohio, with a mix of sombre sadness, cantankerous grumpiness, and glitter-studded pitch, lending texture and toughness to the role. When we first meet Pat, he looks like any other resident of his nursing home: a grumpy old man, dressed head-to-toe in dirty pants, who isn’t as enthusiastic about his feet anymore. .

Then, when One Last Job appears out of nowhere, Pat makes his way, on foot, to the funeral, gathering supplies and mementos as he goes. Writer-director Todd Stephens slowly reveals the details of Pat’s busy life during runtime. There is a former partner, who appears to have died under tragic circumstances; his old house, now an empty piece of land; a rival hairdresser and stylist, she played with Jennifer Coolidge’s signature glamor; and the late client who initiated him on the journey in the first place, whom he describes as a “fussy republican freak”, before adding, with a slight smirk, “… he loved him.”

Stephens’ script is peppered with these bittersweet reflections, which have the biggest impact in positioning Pat as something of a veteran statesman of the LGBTQ community. In a beautifully staged scene, Pat and an old friend sadly watch two young gay parents play with their children, years of once unthinkable progress before their very eyes. Later, Pat visits a gay club and former hangout, only to find it closing, and the film wonders where LGBTQ people can find a sense of community when these friendly spaces disappear.

Outside of those scenes, however, the film feels a little sketchy, fluctuating dramatically as Pat moves on to her next nostalgic encounter. It’s bordering on lightheartedness: the most important thing in the film is that Pat is hunting down an old brand of shampoo. But there’s a lovely, caring warmth, and credit goes to Kier’s performance for making Pat so likable, despite his frown. He sports looks in all kinds of fabulous fashion, from a pastel safari suit to an old lady’s pink hat, while smoking cigars and still being nostalgic. He reminds us that he is one of our most popular characters; hoping he doesn’t make another 200 films before his next starring role.