This film about Dolly Parton feels very carefully constructed, and throughout, I didn't get the sense that I was discovering anything new about her—nothing beyond what’s already public knowledge or what she seems willing to share. What it does offer is a skillfully assembled collection of her performances; from her earliest appearances alongside Porter Wagoner, she comes across as someone set on achieving success according to her own vision. Her songs certainly reflect her perspective on women's roles within the family and in broader society, though she doesn’t present herself as an outspoken feminist. She readily acknowledges relationships with people of color and those who are gay, but seems aware that many of those “who love her,” as Jane Fonda put it, might be deeply conservative politically, so she avoids taking strong public stances on issues that could alienate her supporters—at least publicly. Watching it unfold, I remained unsure about the person behind the image, beyond the self-deprecating persona she consistently projects. Even colleagues from “Nine to Five” (1980) have said they never saw her without her signature look, and many musicians who’d worked with her for years hadn't even met her husband, nor did they suggest a close personal connection. I wasn’t looking for anything scandalous or overly gossipy, but the level of planning and execution only reveals one facet of this performer, and we could have simply watched some of her concerts instead. There are hints of more private details, and you might wonder if “Jolene,” for example, draws from personal experiences, but these feel like mere fragments for anyone hoping to truly understand Dolly Parton. It’s enjoyable enough, but it felt more like a prepared remembrance crafted by someone who wants to be remembered in a specific way.

Source on TMDB