Irene Staub–better known as Lady Shiva–was a character to say the least. She was larger than life, she was passionate, she refused to change herself for anyone else, and yet everyone that has ever known her looks at her with nothing but love and admiration. Glow tells Lady Shiva’s story from her time as a street walker to the time when she made it big. Her life was cut far too short, but her time here left a lasting impression, one that will likely never dissipate.
It is said that Glow features never-before-seen footage of Staub and her cohort(s), that for the first time ever the world is getting a thorough deep dive into her life. In this never-before-seen footage, Staub and her confidants are often seen from numerous angles at the same time, shedding light on the many sides to her character, Lady Shiva, and bringing her to life in a way that I’m not sure that just one camera would have been capable. Glow often features a split screen, helping to captivate viewers and create a unique understanding of this character, this passionate individual. The split screen is what ultimately makes Glow successful. It’s fun, accurately representing Staub, but it’s also informative, giving viewers a unique look into her life.
The on-screen text manages to do the opposite of the split screen, however. I’m genuinely confused by this aspect of Glow, as the text rarely stands out, rarely does it capture the attention of viewers. Oftentimes the on-screen text is used to provide context and other important information that are pertinent to the film–and in the moments when the text can’t capture viewers’ attention, something is lost. Viewers fall out of the know, and they ultimately fall away from the film, even if only for a moment. But those series of moments strewn throughout Glow are of immense importance, and that fractures the film.
“I like dangerous things.” This is a quote from Ursula Rodel, a Swiss designer that worked closely with Staub. She says this around the thirty-minute mark of Glow and when she said that, something clicked in regard to the film. There’s no doubt that Glow is a challenging film that presents the world with a series of topics that have the potential to ruffle some feathers and fluster viewers–but Writer-Director Gabriel Baur likely knows this. She is aware of the fact that Glow is dangerous and that she is sticking her neck out and putting her career on the line presenting this to viewers–but she does it anyway. While I don’t believe that “I like dangerous things” is the battlecry of Baur or Glow, I do believe that it wonderfully sums up what this film is able to do and be.
Glow is a unique film about a unique subject, constantly introducing new content and shining light on the many intricacies of Staub’s magnificent life. The star of the show is the archived, never-before-seen footage of Staub that often comes to life on a split screen, showcasing her dichotomy. From the opening moments Glow sets out on a journey to tell the world about Staub (and Lady Shiva), and every step of the way brings her to life in a vibrant and passionate way.
Written & Directed by Gabriel Baur.
Starring Irene Staub, Ursula Rodel, Boris Blank, Federico Pfaffen, Karl Lienert, etc.
⭐⭐⭐⭐⭐⭐⭐/10
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