Drugs, gambling and women play as much a part in his narrative as any other impressionable personality. Further down the line, we are acquainted with and ageing White. The excesses of a former self have clearly taken their toll. Otto attempts to approach White's current state with nothing but civility and good intentions. However, as any complete story such as this plays out, wisps of tragedy sour the seductiveness of a life lived with extraordinary prestige. The constructive parallels between The Last Impresario and other homogenous documentaries in this format are commonplace. Back in 2002, Burstein and Morgen's The Kid Stays in the Picture was the autobiographical retelling of producer Robert Evans. Here, we had the customary montages of success, the opulence, the controversies and the ultimate tragedies. Again, Supermensch replicated this arrangement. Where these two movies prevail is their subjects professedly enjoy telling their tales. Otto's hero appears to be at a mental crossroads where he's not all sure if he cares to tell it or not.