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Edition: U.S. Article Comments (0) Follow Reuters Facebook Twitter RSS YouTube Read Roadside clue becomes focus of Holly Bobo search 1:09pm EDT Iran says it has detected second cyber attack 5:55am EDT Five women brutally murdered in Mexico beach resort 23 Apr 2011 REFILE-GLOBAL MARKETS-Silver slide boosts dollar, drags on oil 1:31pm EDT "Water for Elephants" a lost opportunity 8:19am EDT Discussed 134 Texas governor calls for prayers for rain 133 Obama sees no magic bullet to push down gas prices 64 U.S. sends drones to Libya as battle rages for Misrata Watched NATO jets bomb Gaddafi compound 6:27am EDT Gunfire and tanks in Syria Sun, Apr 24 2011 Chernobyl Legacy 6:24am EDT Crowe pays homage to Elton John, Leon Russell Tweet Share this By David Rooney NEW YORK (Hollywood Reporter) - At the end of Cameron Crowe's moving and eloquently simple documentary, "The Union," Elton John sings "You're never too old to hold somebody." That lyric is entirely appropriate for a film that is one... Email Print Related News Paul Simon takes graying fans on world tour 11:44am EDT Stefano Langone never wanted to win "American Idol" Fri, Apr 22 2011 Exclusive: Apple to beat Google on cloud music: sources Thu, Apr 21 2011 Elton John opens Tribeca festival with "The Union" Thu, Apr 21 2011 Foo Fighters earn first No. 1 album in U.S. Wed, Apr 20 2011 Analysis & Opinion Dum Maaro Dum: Wayward, but worth a watch Tech wrap: Apple beats Google to the music cloud Related Topics Entertainment » Fashion » Film » Sir Elton John attends opening night premiere of ''The Union'' during the 10th annual Tribeca Film Festival in New York April 20, 2011. Credit: Reuters/Lucas Jackson By David Rooney Mon Apr 25, 2011 11:47am EDT NEW YORK (Hollywood Reporter) - At the end of Cameron Crowe's moving and eloquently simple documentary, "The Union," Elton John sings "You're never too old to hold somebody." That lyric is entirely appropriate for a film that is one warm, extended embrace from the music legend to his idol, Leon Russell. This chronicle of the making of John and Russell's 2010 Universal album of the same name is also a valentine from a filmmaker for whom music has always been an indispensable element of his movies. Reinforcing that connection, John began his live performance following the Tribeca Film Festival's opening-night screening with "Tiny Dancer," a song used to stirring effect in Crowe's 2000 feature, "Almost Famous." The most visible directorial touch here is the split-screen employed to show the two musicians on opposite sides of a studio, or to juxtapose present-day images of them with their 1970s high style. Otherwise, Crowe's work is anything but intrusive. You get the sense he counts himself lucky just to be in the same room while these guys work. That congenial tone might make "The Union" a little reverential for non-fans, but it should find an eager audience of devotees on TV and DVD. John toured with Russell back in the '70s, but the two had not seen each other in 38 years when they met again in Los Angeles to begin work on the album. John conceived the project as a tribute to a piano man and songwriter who was a major influence on him; his aim was to recapture the sound of Russell's vintage releases. Produced by T-Bone Burnett, the result was listed by Rolling Stone among the top five albums of last year. It merges the expansive flavors of Russell's music -- combining rock 'n' roll, gospel, soul, blues, country -- with enveloping narratives and soaring sounds that evoke the golden years of John's songwriting collaboration with Bernie Taupin, another contributor to this album. A 2011 inductee into the Rock & Roll Hall of Fame, Russell had drifted into semi-obscurity before the album was made. At times he shows the watchful timidity of a hermit lured back into society. When John attempts to high-five him soon after their reunion, he says, "I don't know how to do that. That's some kind of sports thing, isn't it?" There's also a dry, self-effacing quality to his humor, and a notable lack of ego. While his outfits might be less outre, Russell hasn't significantly altered his look in the four decades since he was heading Joe Cocker's band on the "Mad Dogs and Englishmen" tour. But while his curtain of hair, epic beard, spectacles and occasional top hat back then gave him the air of an intimidating hippie wizard, he's now a more benign, white-maned figure, accurately described by John as looking like God. Both artists purveyed different brands of flamboyance back in their hey-days, illustrated by some fun archival footage. Seeing John in his red hot pants or Donald Duck costume never gets old. Crowe provides a brisk account of the incredible sweep of Russell's influence in a montage of hit songs from the '60s and '70s on which he played as a session musician. While there's no attempt to create artificial tension in what's basically a love letter, the film acknowledges an interruption in the creative process as Russell underwent emergency brain surgery. His gradual recovery appears to be fueled by the music, peaking when some soulful backup singers enter the studio and start shoop-shooping, which has Russell stroking his beard with pleasure. The tenderness John shows his collaborator is clearly genuine. Watching him overcome by emotion as Russell, not long out of hospital, sits at the piano and performs the gravelly hymn "In the Hands of Angels" for the first time, John seems less a music giant than a man acknowledging an enormous debt of gratitude. Famous faces stop by during the writing and recording process: Booker T. Jones plays on one track, Brian Wilson sings harmonies, Stevie Nicks drops in and recalls opening for Russell with Lindsey Buckingham a few years before they formed Fleetwood Mac. But the film is above all a gesture from one musician to another, a heartfelt testament to the rewards of collaboration, and for John, an act of humble fandom. "The Union" is dedicated to Reginald Dwight and Claude Russell Bridges, the birth names of its two subjects. That choice is fitting for a portrait that looks beyond the fame of either artist to provide intimate access to them as they return to their roots. Entertainment Fashion Film Tweet this Share this Link this Digg this Email Reprints We welcome comments that advance the story directly or with relevant tangential information. We try to block comments that use offensive language, all capital letters or appear to be spam, and we review comments frequently to ensure they meet our standards. If you see a comment that you believe is irrelevant or inappropriate, you can flag it to our editors by using the report abuse links. Views expressed in the comments do not represent those of Reuters. Comments (0) Be the first to comment on reuters.com. Add yours using the box above. 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