A fine bio/doc of, in my opinion, the best sit com actress of the twentieth century, and a damn fine dramatic actor as well. I especially admired how director James Adolphus avoided the Talking Head Trap by having voices over clips rather than cutting away from clips to shots of talking heads talking, as most docs do. Bravo. Also, I found the voices generally well chosen, mostly interested in imparting info and perceptions about Ms. Moore rather than pushing themselves. Again, I would credit the fact that the speakers were not shown on camera for this felicitousness.

As for the tone of this documentary, it's fairly doleful, wouldn't you say? Certainly, Ms. Moore's life had its share of sadnesses, what with a cold fish dad, possibly suicidal sister and son, and alcoholic brother. But there is a core of melancholy present in all her interviews, even at their most comic. Maybe all professional funny folks are subject to this trait, but it sure is present in this gal.

My only criticism is that there is too much time spent on act three (Moore's long decline after she moved to upstate NY) and not enough on act one (her early life with her parents, and first marriage). Act two, however, cannot be improved on, especially the treatment of The Mary Tyler Moore Show's influence on American popular culture in the 70s and even more especially that culture's changing views on women and the workplace. Let's just say that this doc effectively eviscerates Gloria Steinem's monumentally dumb remark that TMTMS was "anti woman". Give it an A minus.

PS...Forgot what a pompous bore David Susskind was.

I was one of those kids who never missed a Mary Tyler Moore show on Saturday nights. Beautiful, kind, humble, understanding, and willing to stand up for her values; watching the character Mary Richard's played by MTM was like watching life lessons on how to grow up and be a good person. And those were tough years. Society was in turmoil: Vietnam, Watergate, Civil rights, etc. Yet even as a kid I knew that show was gently, through humor, helping us deal with complexity.

That same dualism was part of who MTM was as a human being, as the documentary points out, particularly in a condescending Suskind interview that she handles beautifully. But it misses a great deal too. Her shows were not just funny, they were important milestones culturally. They were part of an era; they helped define that era. The 70s show became a huge hit, won tons of Tonys, and spun off so many shows it seemed at the time like MTM Enterprises had replaced MGM - they even spoofed the studio with a tiny cat instead of a Lion. Her impact was huge. But you don't really get a feel for that impact from this doc.

For instance, instead of spending way too much time on her last husband, which gets creepy and weird (like someone is trying really hard to prove something - he's a producer), more important to her legacy would have been more depth about her company, how those shows spun off, and her relationship with husband Grant Tinker, which is glossed over. (Jealousy?) Tinker was a huge TV influence, first through his wife then on his own. He deserved more in the doc.

Oddly enough, so did MTM. We endure overly long clips from the same interviewers, and too many voiceovers from celebrity fans. Better would have been in-depth clips from her career, especially her films, more analysis of her impact on television from the experts (not just friends), more background from Van Dyke, and more context about other iconic shows at that time: All In The Family, Rhoda, Maud, Sanford and Son, and the Jeffersons. And it would have been perfect to end, not with the last husband ad nauseum (2 appearances are sufficient, not dozens), but with that wonderful reunion of MTM, Betty, and Valerie on 'Hot in Cleveland,' her last scripted performance. It was a beautiful TV moment, like all of her work. The doc director treated his subject far too superficially.