★★★★

For an actor with nearly 300 acting credits to his name, dating back to 1966, the legendary Udo Kier has never been given a role like that of Mister Pat in the moving, often hilarious, bittersweet Swan Song. For the eccentric German-born actor, now in his mid-70’s, playing an elderly free-spirit, confined to an assisted living facility, and perpetually annoyed and frustrated with everything around him, is a role he dives into with everything he has.

And he gives perhaps the performance of his career.

Swan Song is a biopic - inspired by the real life events of Sandusky, Ohio’s own Pat Pitsenbarger. Known as Mister Pat, he performed frequently in the community drag/queer bar, while working as a hair stylist during the day. Kier slides into the role of Mister Pat as if he was born to play the man. Including a drag performance, with a working chandelier on top of his head, lip-syncing to pop singer Robyn’s classic “Dancing on My Own.”

That the chandelier malfunctions and Mister Pat ends up in the ER is an example of how writer/director Todd Stephens constantly uses subtle surprises when he nimbly shifts the tone of his film from over-the-top to serious, from melancholy to glorious.

Kier spends much of the film’s first half, quiet and with few words. It becomes obvious how much he detests having nurses praise him for walking down a hallway or reminding him to take his medication. Living out and free, only to then be confined to a glorified hospital bed has drained the life from him. Kier captures the grumpy, seething discontent beautifully.

A visit from a probate lawyer (Tom Bloom) gives Pat an opportunity to style an old friend of his from the past. Socialite Rita Parker Sloan (Linda Evans) has died. In her will she has requested that Pat style her hair and makeup for her final viewing. Though a substantial amount of money awaits him, Pat steadfastly refuses, hurt that his late partner David and Rita never met. 

A rival stylist, Dee Dee (Jennifer Coolidge), lurches into the picture and a defiant Pat tells the lawyer to give the gig to her.

We wouldn’t have a movie if Pat didn’t reconsider, and the manner with which he agrees is one of the many frequent joys Swan Song provides. Kier is brilliant in encapsulating the feelings of what once was and what can no longer be. He drew cheers from the audience I saw the film with, when he simply showed us Pat reclaiming something on his own terms.

As a programmer shared after my screening of Swan Song, “Udo Kier can do no wrong.” 

Even if Swan Song rushes in moments where it should slow down and labors a little too long in certain scenes and exchanges, a triumphant Kier steals our hearts and gets to shine wholly and completely on his own. And it’s a joyous celebration for an actor who has deserved this moment for a very long time.

Swan Song was viewed as part of the Fourth Annual North Bend Film Festival