‘Andy Kaufman Is Me' Review: Solid but Unrevelatory Doc Uses Puppetry to Tackle the Iconic Comic

Yahoo

12-06-2025

I've sat through enough duplicative documentaries over the years to know that there's very little harm, but also very little illumination, in viewing multiple projects about Fyre Festival or that ill-fated submarine or Woodstock '99.
Just because I watched Alex Braverman's Thank You Very Much, which launched at the 2023 Venice Film Festival, doesn't mean that it's bad to rehash most of the same biographical plot points and pivotal TV appearances of the enigmatic Andy Kaufman in Clay Tweel's new documentary, Andy Kaufman Is Me, premiering at Tribeca.
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It happens that the two Andy Kaufman documentaries are nicely complementary texts, featuring basically no overlapping talking heads and landing on mostly different life events as pivotal to Kaufman's development, even if they exert a lot of effort in coming to the same self-evident conclusion: Because so much of Andy Kaufman's life was performance art, and because Andy Kaufman died in 1984, we may never know the real Andy Kaufman — but darned if we aren't going to attempt extremely rudimentary psychiatric analysis in our failed attempt to unravel the mystery.
Andy Kaufman Is Me, which at least has a distinctive visual approach that Kaufman probably would have appreciated, is narrowly the better of the two fine documentaries. That said, I think we've hit a brick wall in this thesis on the highly influential, thoroughly unknowable icon. We can maybe wait a decade or two for our next Andy Kaufman documentary, at least until somebody has a fresher idea.
Boasting the credit 'Produced in Consultation with The Estate of Andy Kaufman,' Andy Kaufman Is Me absolutely feels like the more 'authorized' documentary.
Tweel — and producers including Dwayne Johnson, for whatever reason — is able to build his version of Kaufman's story around extensive interviews with siblings Michael and Carol; Kaufman's own audio journals; and a wide assortment of recorded conversations between biographer Bill Zehme and Kaufman's father Stanley as well as other key figures. The immediacy of these relations and connections contributes warmth and poignancy, but not necessarily deep insight into the man that Kaufman actually became.
The Braverman documentary, with its interviews with Kaufman's longtime creative collaborator Bob Zmuda and longtime girlfriend Lynne Margulies, had much better representation from the individuals closest to Kaufman at the peak of his fame and infamy — hence my feeling that these two documentaries nestle nicely into each other, even if there's an inherent staleness to watching people attempt to solve the same riddle over and over again. It's as if Sherlock Holmes had failed to solve the crime in A Study in Scarlet and had spent the rest of his life explaining that he hadn't exactly been wrong, that it was just a really difficult case.
Andy Kaufman Is Me doesn't offer much that counts as surprising, but how could it? This documentary has a better perspective, for example, on Kaufman's time at community college and how it shaped his goals, but once his career accelerates, even casual fans know the key beats. He exploded as perhaps the original alt-comedy star, with his off-putting sets that were, as several people observe, more theater than standup. He became a huge sensation thanks to Saturday Night Live and regular late-night appearances that left the various hosts as perplexed as they were amused.
With Taxi, he became an even bigger deal, but not really the star he wanted to be, because he was ill-suited for scripted sitcom containment. He alienated friends and fans alike with his alter ego Tony Clifton and with his notorious incursions into the world of wrestling. Then he got cancer and either died or faked his own death, if your participation in the Andy Kaufman Memorial Complex hinges on that conspiratorial interpretation.
Tweel's point of entry is Kaufman's semi-autobiographical novel The Huey Williams Story, seeds of which feature heavily in the 84 hours of personal tapes the director was able to acquire. The book was published as a work-in-progress by his brother in 1999, but Tweel treats it as a snapshot into Kaufman's brain, one that can only be captured through puppetry by the Bob Baker Marionette Theater.
The use of dead-eyed versions of Kaufman and Clifton is suitably eerie and alienating, suggesting that the best way to learn the truth about Andy Kaufman might be to view him through another artificial and fictional remove. The puppetry is whimsical and creepy, connecting well with the ABC special in which Kaufman met Howdy Doody, a pure and beautiful moment that both recent documentaries correctly assess as a mid-career Rosetta Stone. It's a worthwhile aesthetic swing for Tweel to take, but I'm not sure the attempt to give Andy Kaufman Is Me a four-act structure that semi-mirrors the hero's journey in the book adds much, and it never becomes as confrontationally surreal as Kaufman's writing clearly aspired to be.
It isn't like Tweel is fully committed to the puppetry and structure anyway. At some point, the documentary just pauses its forward momentum to let people like David Letterman (another executive producer here), Eric Andre and Tim Heidecker explain why Andy Kaufman was influential, which is both completely accurate and completely self-evident in this context.
I will never object to spending 100 minutes remembering Kaufman's defining sketches and marveling at the ambitions that his death left unfulfilled. It's time, though, for documentarians to take a break from offering interpretations of Kaufman's life that claim to be unprecedented — at least until one truly is.
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