6.8/10
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Without You I'm Nothing (1990)

R | | Comedy, Musical | 11 May 1990 (USA)
Sandra Bernhard stars in a studio version of her off-Broadway show, blending re-enactments of the original show's pieces with concept vignettes and 'testimonials' to underscore the relationship between a performer and an audience.

Director:

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Cast

Cast overview, first billed only:
...
Herself
...
Himself
...
Himself
Lu Leonard ...
Sandra's Manager
...
Emcee
...
Roxanne
Grace Broughton ...
'Female' Backup Singer
Kimberli Williams ...
'Female' Backup Singer
Axel Vera ...
'Female' Backup Singer
Estuardo Volty ...
'Female' Backup Singer (as Estuardo M. Volty)
Kevin Dorsey ...
Male Backup Singer
Arnold McCuller ...
Male Backup Singer
Oren Waters ...
Male Backup Singer
...
Child Caroler (as Vonte' Sweet)
Tonya Natalie Townsend ...
Child Caroler
Edit

Storyline

Sandra Bernhard stars in a studio version of her off-Broadway show, blending re-enactments of the original show's pieces with concept vignettes and 'testimonials' to underscore the relationship between a performer and an audience.

Plot Summary | Add Synopsis

Genres:

Comedy | Musical

Certificate:

R | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

11 May 1990 (USA)  »

Filming Locations:


Box Office

Gross:

$1,218,730 (USA)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

Film debut of Djimon Hounsou. See more »

Quotes

Sandra: Come back to the Five and Dime, Barbra Streisand, Barbra Streisand.
See more »


Soundtracks

Me and Mrs. Jones
Performed by Sandra Bernhard
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User Reviews

 
shocking
29 April 2007 | by (United States) – See all my reviews

At the time I recall being quite startled and amused by this movie. I referred to it as the most important movie I'd seen in ten years, and found myself bumping into people who said similar things.

Bernhard has an unusually perceptive behavioral notebook. And she has shaped the bitter adolescent personality that we all had, into a corrosive, adult world-view. The two together provide a startling mix which may be too edgy for some viewers. (Hi Skip. I wish you weren't my brother so I could **** you!)

Bernhards search for herself after returning to LA from New York, results in the immersive trying-on of various personas (all of which fit poorly) for our amusement, but enough of them involve acting out to appeal to a "black imperative" values system that the real barometer of her resituation is whether black culture accepts her. (It's been a while. Nina Simone comes to mind. And she has an impressive, solidly-built black lover in the movie) A pretty black girl attends the shows, and seems to be authorizing Sandra's faux-blackness, but ultimately rejects her.

Just as Catholics deem themselves lucky to suffer for Christ, here Sandra depicts herself suffering at the hands of a black culture in which she craves a place; as if she cherishes her worthiness and her rejection. It's the only value system implicated in the films world, outside of Bernhards arty confusion.

For a nation whose chief issues are racism and money, it's refreshing to see one of the 2 topics dealt with in an atypical way.


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