From teenage mannequin to upper-crust caterer to home doyenne to media-spanning billionaire to scapegoated convict to octogenarian thirst lure fanatic and Snoop Dogg chum, Martha Stewart has had a life that defies perception, or a minimum of congruity.

It’s an unlikely journey that has been carried out largely within the public eye, which supplies R.J. Cutler a selected problem along with his new Netflix documentary, Martha. Perhaps there are younger viewers who don’t know what Martha Stewart‘s life was earlier than she hosted dinner events with Snoop. Maybe there are older audiences who thought that after spending time on the jail misleadingly often known as Camp Cupcake, Martha Stewart slunk off into embarrassed obscurity.

These are in all probability the 115-minute documentary’s goal audiences — individuals impressed sufficient to be interested by Martha Stewart, however not curious sufficient to have traced her course actively. It’s a really, very easy and linear documentary by which the precise revelations are restricted extra by your consciousness than anything.

In lieu of revelations, although, what retains Martha participating is watching Cutler thrust and parry along with his topic. The prolific documentarian has performed movies on the likes of Anna Wintour and Dick Cheney, so he is aware of from prickly stars, and in Martha Stewart he has a heroine with sufficient energy and well-earned don’t-give-a-f**okay that she’ll solely say precisely what she needs to say within the context that she needs to say it. Icy when she needs to be, selectively candid when it fits her functions, Stewart makes Martha into virtually a collaboration: half the story she needs to inform and half the diploma to which Cutler buys that story. And the latter, way more than the fully bland biographical trappings and rote formal strategy, is entertaining.

Cutler has pushed the highlight completely onto Stewart. Though he’s carried out many new interviews for the documentary, with mates and colleagues and household and even just a few adversaries, solely Stewart will get the on-screen speaking head therapy. All people else will get to present their suggestions in audio-only conversations that must take their place behind footage of Martha via the years, in addition to the present entry Stewart gave manufacturing to what appears to have been principally her lavish Turkey Hill farmhouse.

These “entry” scenes, by which Stewart goes about her enterprise with out acknowledging the digicam, illustrate her common strategy to the documentary, which I may sum up as “I’m ready to present you my time, however principally because it’s handy to me.”

At 83 and nonetheless busier than virtually any human on the globe, Stewart wants this documentary lower than the documentary wants her, and he or she completely is aware of it. Cutler tries to attract her out and consists of himself pushing Stewart on sure factors, just like the distinction between her husband’s affair, which nonetheless angers her, and her personal contemporaneous infidelity. At any time when attainable, Stewart tries to absent herself from being an lively a part of the stickier conversations by handing off correspondences and her diary from jail, letting Cutler do what he needs with these semi-revealing paperwork.

“Take it out of the letters,” she instructs him after the dead-ended chat concerning the finish of her marriage, including that she merely doesn’t experience self-pity.

And Cutler tries, getting a voiceover actor to learn these letters and diary entries and filling in visible gaps with unremarkable nonetheless illustrations.

Simply as Stewart makes Cutler fill in sure gaps, the director makes viewers learn between the strains incessantly. Within the back-and-forth about their affairs, he mentions talking with Andy, her ex, however Andy is rarely heard within the documentary. Take it as you’ll. And take it as you’ll that she blames prducer Mark Burnett for not understanding her model in her post-prison daytime present — which can or might not clarify Burnett’s absence, in addition to the choice to deal with The Martha Stewart Present as a fleeting catastrophe (it really ran 1,162 episodes over seven seasons) and to faux that The Apprentice: Martha Stewart by no means existed. The gaps and exclusions are notably seen within the post-prison a part of her life, which might be summed up as, “Every thing was unhealthy after which she roasted Justin Bieber and every thing was good.”

Sometimes, Stewart gives the look that she’s let her protecting veneer slip, like when she says of the New York Publish reporter masking her trial: “She’s useless now, thank goodness. No one has to place up with that crap that she was writing.” However that’s not letting something slip. It’s pure and calculated and completely cutthroat. Extra incessantly when Stewart needs to indicate contempt, she rolls her eyes or stares in Cutler’s course ready for him to maneuver on. That’s evisceration sufficient.

Stewart isn’t a producer on Martha, and I’m certain there are issues right here she in all probability would have most popular to not hassle with once more in any respect. However on the identical time, you may sense that both she’s steering the theme of the documentary or she’s giving Cutler what he wants for his personal clear theme. All through the primary half, her want for perfection is talked about time and again and, by the tip, she pauses and summarizes her life’s course with, “I believe imperfection is one thing you can cope with.”

Seeing her work together with Cutler and along with her workers, there’s no indication that she has put aside her exacting requirements. As a substitute, she’s discovered a calculatedly imperfect model of herself that folks like, and he or she’s perfected that. It’s, as she would possibly put it, a very good factor.