Pee-Wee as Himself

I always wondered what was going on with Paul Reubens.  The man behind his alter ego, Pee-Wee Herman.  For many, he was merely a punchline.  Some guy who did a kiddie show who got busted in a porno theater.  Even some of his longtime fans were quick to make cheap jokes at his expense, another celebrity, one of many who was lauded and then chided.  Society likes to tear down former bright lights, whether they are deserving of it or otherwise. 

I have been a fan since I saw his HBO special, Pee Wee's Playhouse, a recording of his celebrated stage show.  1984.  A year later, he made his big screen debut with the triumphant PEE WEE'S BIG ADVENTURE (I have that review around here, er, somewhere).  CBS contracted him for five seasons of Playhouse. Meanwhile, another much less celebrated movie BIG TOP PEE WEE, followed.  Then Paul got caught in that Sarasota, FL theater.  I remained a fan.

This year's excellent documentary Pee-wee as Himself, currently on HBO and the streaming service Max (soon to be called HBO Max again and don't get me started) takes a comprehensive look at a complicated genius.  A funnyman with lots of angst.  Aren't they all? Director Matt Wolf compiled forty hours of interview footage with his subject.  Reubens comes off as, by turns, slightly arrogant and almost cooperative.  It seems he was transparent.  You probably know that Paul Reubens died in 2023 before Wolf finished the project.  Leaving it in a strange spot - we hear Paul's thoughts on the process but sadly don't get his take on the finished product, which includes a generous amount of archival footage and interviews. 

A wealth.  Anyone who remembers being amused by the red bowtied subversive will be engrossed.  I certainly was.  Reubens assesses himself, starting with his childhood and continuing with blunt recollections along the way.  Bittersweet stories of his parents, siblings, classmates, friends, lovers.  Yes, Paul comes out during this doc.  I imagine it will be a surprise to no one, but again, he was a complicated guy.  I feel his participation was more than just a "coming clean". 

Note the curious dynamic between the director and his subject.  Reubens, a self described control freak, asks Wolf if he can sit in during editing.  Also, if he would be allowed to be present when others are interviewed.  The interactions are an integral part of this documentary. 

Pee-wee as Himself never gets maudlin, even during those difficult final ten minutes, which are crushingly sad.  Wolf strikes the perfect mood during all three and one-half hours.  We hoot at the footage from The Gong Show, where Reubens performed a caricature of an American Indian he later assesses as racist.  We hoot louder at all the Playhouse clips and enjoy remembrances by Laurence Fishburne ("Cowboy Curtis") and S. Epatha Merkerson ("Reba").  We are reminded what a unique work of art Reubens created.  Also sad is the eventual estrangement with co-creator Phil Hartman.  "That's showbiz".

Everyone should be so lucky to get a valediction like this.  Good work, Matt.  This is a documentary to love.  You might even want to marry it.