Too schematic for theatrical, this years-in-the-making docu will find long life on TV.
There are Piggy people in the world, and Kermit people, and Grover people, but Elmo people are everywhere, which promises a lot of love for “Being Elmo,” the story of the linebacker-sized Kevin Clash — the hand, voice and soul of the beloved Muppet — and how they both got where they are. Too schematic for theatrical, this years-in-the-making docu will find long life on TV, whence Elmo, the perpetually 3-year-old, hairy red pronoun-eschewing monster, sprang.
Clash seems to embody his own odd couple — passive as Kevin, antic as Elmo. “Kevin comes alive as Elmo,” a colleague says early on, and one can say something similar about the film. Helmer Constance Marks gives us a gentle giant of a man, whose precocious interest in puppets and puppetry was inspired by the same show that made Elmo a cultural fixture, “Sesame Street.”
“Being Elmo” is also a triumph-of-the-outsider story: Clash, who grew up outside Baltimore to highly supportive middle-class parents (both of whom appear onscreen) was playing with puppets when his classmates were playing basketball; his recollection of having cut up his father’s coat to create one of his many Muppet-inspired characters is a remembrance of childhood fear, but also a story of focus: Clash was so intent on making his art that he forgot what he was doing.
It’s the kind of intensity that’s belied by Clash’s character, which is soft-spoken and passive — even in the world of Clash’s mentor and champion, the late Jim Henson, one wonders how a guy so self-deprecating got so far so young.
Marks, and co-director Philip Shane, detail Clash’s career, from his breakthrough job as a puppeteer with “Captain Kangaroo” to PBS’ “The Great Space Coaster”; he passes up a job on Henson’s “The Dark Crystal” and takes a job on “Labyrinth” which provides his portal into the “Sesame Street” universe. All in all, the pace — although buoyed by Joel Goodman score — is rather plodding until Clash’s life story intersects with that of the little red guy, at which point it lifts off. And even yanks a tear or two: Elmo’s visit with a Make a Wish child is a heartbreaker.
Tech credits are good all around, notably the cinematography and score, which mercifully avoids the music of “Elmo’s World.”