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Call me Edward: the documentary that shows why Eddie Izzard is a true pioneer

Eddie Izzard came out as a transvestite by turning up on stage in a dress and heels on the opening night of his first proper tour. It feels as if he was determined that, if he was going to be successful, it would be on his own terms. A new documentary cha

Eddie Izzard, star of Believe.
Eddie Izzard, star of Believe.

"Inspirational" is a grotesquely overused word – but it's hard to describe the portrait of Eddie Izzard that emerges from Believe, the documentary about his early stand-up career, as anything else. Awe-inspiring? Humbling? Borderline insane?

The 90-minute film, available on BBC iPlayer until 26 December, was shot over several years by Izzard's then girlfriend, Sarah Townsend. It traces Izzard's life from his birth in Yemen to his first night playing Wembley but focuses mainly on the years – and there were plenty of them – of total obscurity.

The film begins with a low point in Izzard's career, when he was accused by Watchdog in 2000 of recycling jokes. And, for much of the film, there's nothing but low points: an endless succession of poorly attended gigs and routines that don't quite work. In 1981, flush with the optimism of youth, Izzard took a show to the Edinburgh Festival. It was the year that Stephen Fry, Hugh Laurie and Emma Thompson won the Perrier Award with Cambridge Footlights. For them, comedy seemed easy; for Izzard, it was bloody hard work.

After that summer, he dropped out of university and began a decade of street performing. Gradually, the interspersed snippets of stand-up get funnier – the best are still astonishingly good, even out of context. What other comedian could mine so many laughs from Engelbert Humperdinck, squirrels wearing make-up or professional mourners?

Izzard frequently describes himself as obstinate but there's more to it than that. At times, he's suicidally determined to do things his way. His transvestism, which so preoccupied the media, is dealt with in a fairly peremptory fashion – but it's fascinating that he came out by turning up on stage in a dress and heels on the opening night of his first proper tour. It feels as if he was determined that, if he was going to be successful, it would be on his own terms.

By the time he succeeds – with a three-minute spot at an Aids benefit in 1991 – the primary emotion the viewer feels is relief. Izzard himself seems remarkably sanguine, arguing that he'd always believed he could be a stand-up: it just took the rest of the world some time to catch up.

Yet even when all the years of unrewarded graft are over and he's achieved success, Izzard can't stop pushing himself. He decides to do a gig in French, a language he barely speaks. As he fumbles through a ham-fisted routine, he keeps forgetting the words he needs for the punchline. The audience pitch in, shouting "clémentine" gamely at him but they're indulging him, not really enjoying themselves. Then there's his acting, of which the less said, the better. He just won't accept that there are things he can't do.

Around this point, you realise that the vast majority of us just aren't like Izzard. In his position, we'd have tried a few gigs, decided it wasn't working and gone to work in a bank or in telesales or whatever. We'd have settled for being "the funny guy" at work, the one everyone tells, "You should really be a comedian, you should."

Izzard, on the other hand, has an almost eerie drive to pick himself up again whenever he gets knocked down. After Watchdog accused him of recycling jokes – an unfair accusation, as it's a common practice in stand-up circles – we see him starting a new tour with entirely fresh material. Much of it falls flat but he marches on.

As Sarah Townsend said in a recent interview: "When we tested [the film], people would come and tell us how it had really inspired them. Most people sort of give up if they don't just 'arrive' now. The idea of working hard has gone by the wayside because today everything is so instantaneous, which I think sort of cheapens it."

She is pretty clear about what created this superhuman dose of determination: the death of Izzard's mother when he was six. "I don't remember wanting to perform before she died," he says early on in the documentary. Townsend has admitted that she found it difficult to get Izzard to open up but eventually he did. Reading a letter from his mother to a family friend, he notices that she called him "Edward". "I thought she called me Eddie," he says, slowly. "But I was an Edward to her."

This sets him off on a train of thought. "I think performing . . . you're trying to get the love of the audience. And that was a swap of Mum's love not being there. The big problem is that everything I do in life is trying to get her back. I think if I do enough things," he says as his voice breaks with emotion, "that maybe she'll come back."

By the end of the documentary, you feel pathetically grateful that Eddie Izzard did succeed, because it would be unbearable to watch someone try, try and try again in the way he did and still fail. His story is inspiring precisely because it's not a fairy tale – he worked hard to get where he is and he's still working hard.

Every teenage X Factor reject who snuffles about their dream being over should be forced to watch this documentary. And then told to come back after ten years of performing to try again.

You can watch Believe here. Keep an eye out for some of Eddie's early stage outfits, which are truly hideous.