Many people have “work done.” But if you remember the tabloids, Jocelyn Wildenstein was a cut above–all puns intended. Besotted by the idea of beautifying herself in the manner of her favorite African wild cats—think puma, she “did” herself to the point where many considered her a freak. Yes, we all know the faces that cannot move, the sausage lips, the cheeks burnished as a baby’s tush, but

Wildenstein had a specific feline aesthetic that screamed surreal. Seeing photos in the papers, many felt sorry for her mistake, knives out gone wrong. What we learn from the documentary, a soon-to-air Netflix film, THE LION QUEEN, she liked it that way, and there is so much more to her story: Jewish Nazi enablers. Philandering husbands. Unimaginable wealth. The international artmarket. Scandal upon scandal. If you see a gun . . .

A Summerdoc selection, THE LION QUEEN preview screening at Guild Hall, HamptonFilm Chief Creative Officer David Nugent and HamptonsFilm Co-Chair Alec Baldwin led a Q&A with the filmmakers. The audience included artist Almond Zigmund who did the poster for the coming Hamptons International Film Festival. 

LION QUEEN director Alden Nusser, as a video store clerk became obsessed and asked to deliver Jocelyn Wildenstein’s VHSs to her townhouse. This charming up-close-and-personal origin story inspires empathy. In the film, downtown types like Michael Musto weigh in, “She’s just like us.” Without a sense of irony, Alec Baldwin reminded everyone that back in Jocelyn Wildenstein’s day, gossip columnists were deemed the lowest form of journalist.

By contrast, the documentary TOVAH celebrating the legendary Broadway, film, and television star Tovah Feldshuh illuminates a five-decade career in show business. Says Tovah, “The reason I get work is because I can still move my face.” Indeed, she can, and does—playing the Ruths, Dr. and Bader Ginsburg, Golda Meir, among many other historic figures. Often cast as a Jewish mother, even Oscar Isaac, speaking about working together in “Portrait of a Marriage,” called her “Eema,” the Hebrew word for mother, while Julie Benko in the role of Fannie Brice in “Funny Girl” speaks about her nurturing presence, playing her mother. Having seen several performances of the recent revival, I can attest: Tovah, taught excellence by her parents as she describes her upbringing in the memoir, Lilyville, she’s the quintessential Jewish mother; nobody does it better. 

Meantime, director David Serero, introducing the documentary TOVAH at Guild Hall this week, was a Borscht Belt comic with a Parisian accent pacing the stage, poking fun at the East Hampton audience in Yiddish. With impeccable comic timing, Tovah put him in his place, reminding him, “This is WASP country.” In a good way.