“Wed” Preview: Robert Downey Sr. Documentary Premieres in Telluride

Hollywood, an industry full of dynasties, may never produce a more adorable, odd married couple than Robert Downey Sr. and Jr. The two superficially represent something of an ironic ideological divide: the father, a legendary underground filmmaker whose countercultural works like “Swope Roads” and “Greaser’s Palace” functioned as middle fingers to the Hollywood establishment; and the son, the former face of the Marvel Cinematic Universe and one of the highest paid actors of all time. A timeless cult figure against one of the most famous looks in the world. A disgracefully irreverent author against the symbol of cultural hegemony. Despite their differences in artistic practices, however, the obvious remains true – they are still father and son, and have remained refreshingly close over the years.

Director Chris Smith (“American Movie”) clearly understands that the image of senior and junior coming together has a fun spark. His film Senior, a portrait of Robert Downey Sr. in the final years of his life as he races to complete a biographical documentary about his own life, feels most fleeting when it shows father and son together in the same frame. These scenes clearly display a dynamic that clearly goes back decades: while Sr. constantly tries to direct his own scenes in front of the camera, encouraging Smith to enter here or block objects there, Jr. keeps him in the way of the extended family. When the two shoot B-roll and interview footage together, Senior always tries to mess with the footage while Junior jokes about his father’s behavior. Similarly, stories about Jr.’s unconventional childhood are just plain fun, whether Jr. recalls falling asleep to the sound of dailies because his dad put his crib in the editing bay, or Sr. talking about calling a distributor to force a ticket seller to allow to his son to see Marco Ferreri’s X-rated Le Grande Bouffe.

The Spine of Wed follows dual versions of the documentary: a more traditional biographical version directed and edited by Smith, and a more experimental version directed and co-edited by Robert Downey Sr. himself. The finished film consists of the traditional version and scenes of Senior scouting the location and co-editing his version. As Sr.’s Parkinson’s rapidly worsens over the course of the film’s production, we end up watching him edit his version from his bed as his mobility ceases, but we never actually see his version of the footage. While “were” pays proper tribute to the man and his loving relationships, there is a palpable absence of the senior’s personal touch to the material. It’s hard not to imagine a version of “Sr.” which actually incorporates both abbreviations, rather dutifully recording the process.

The disjointed structure of Wed can charitably be seen as an attempted homage to its subject, whose best work was absurdist and divisive, but this is more likely because its focus was negotiated and improvised over the course of the problem. “Wed” has a grab bag quality to it after all. Part of the film follows the director over the course of his career, from his early shorts through his troubled Hollywood films of late. Another part describes Sr.’s relationship with his son, particularly their closeness over the years and his regrets for betraying his hedonistic, substance-abusing traits. Finally, it follows the last days of Senior’s life as Junior brings his own son to document their final moments together.

Sometimes these threads come together nicely, like contrasting Senior’s own lost years in the mid-’70s, when he was making Two Tons of Turquoise to Taos Tonight, with Junior’s similar struggles a few decades later. Other times, Smith simply embraces an instinctive, digressive rhythm that mixes spoken word interviews with the likes of Norman Lear, Alan Arkin and Senior’s sister and third wife alongside Zoom interviews between Junior and Senior and B-roll footage of Senior walking around New York and excerpts from his films, all under a vague chronological framework. “Wed” can feel a bit heavy-handed at times, but it often snaps into focus when it lets itself wax nostalgic or merrily snarl expletives.

Of course, it’s nice to see Robert Downey Jr., a man who has spent the last twenty years with a carefully controlled public face, let his emotional guard down in the film’s devastating finale. As hard as it is to watch Senior deteriorate physically and mentally, it is because of Junior’s warmth towards his father. For most of the film, Junior is clearly playing to the camera in his interviews and interactions, maintaining the accessible irony that has made him a household name. (His most vulnerable moment may be when he sarcastically suggests that Paul Thomas Anderson is the son Sr. wishes he had.) But it’s just powerful when he breaks down in tears while talking to his therapist about his father’s impending death or when he tries to maintain a cheerful disposition even when it is clear that the senior does not know that he is talking to his son.

Wed caters to too many thematic masters, trying to be multiple different films at once without ever committing to any of them, but anyone with any emotional investment in Robert Downey Sr.’s rebellious oeuvre will at least appreciate how he is trying his best to make one last film in his own image. There is a beauty in watching a senior look at dailies, his spirit clearly fueled by artistic possibilities. He is a person who says “Yes” to every idea, even if it doesn’t turn out to be fruitful. He loves the process of filmmaking, even when the final product is out of reach. Despite its flaws, “Wed” honors that spirit to the letter.

Grade: B-

“Wed” to premiere at the Telluride Film Festival in 2022. Currently seeking US distribution.

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