Swan Song

Pat Pitsenbarger (Udo Kier) is in a home having suffered a stroke. Though frail he has his wits about him and he’s a bit of an old devil: secretly smoking with a habit, almost obsession of making paper shapes. The out of the blue he’s visited by lawyer Shanrock (Tom Bloom) with the news that an old client of his has passed away and she has stipulated in her will that is to do her hair and makeup for the funeral.

Donning a green pantsuit, fedora, heels and endless More cigarettes Pat embarks on a Straight Story type journey across the Ohio town, during which he finds that things have changed, a lot. The supplies he needs for the job have all but disappeared and he barely recognises his old haunts as they adapt to the changing tastes of the gay community. There are also some old scores to settle along the way, with the living and the dead.

Based on a real-life character from his hometown in Ohio, writer and director Todd Stephens also seems to have infused Pat with the camp and circumstance of the late pianist Liberace.

Beautifully filmed Stephens captures the delightful incongruity of Pat within the rugged rural town and its people. Kier is the star; flaunting the flamboyance of the character with his waspish demeanour and stealing every scene. Though there is room for some wonderful banter with the people he meets on his journey.

This isn’t a one note performance though and it’s brilliant as Pat is not an easy character to actually like. He’s propelled by a huge ego and puts almost everyone’s’ nose out of joint but Kier imbues Pat with a dignity that warms him to the viewer. As he draws on his memories, past the clothes and styling, to his dead partner, whom he loved and misses so much, and what they had to go through to get where he is now.