Director Alison Chernick wisely suggests that it’s something in Perlman's bubbly, imperious personality — rather than some singular biographical event, such as the musician’s childhood struggles with polio — behind his rise to becoming the rock star of the classical music world. She lets him talk: Come for the soulful musical clips, stay for the great dad jokes about "Jewish Google" and "garbage pail soup." And she employs existing video and audio footage of Perlman performing to illustrate his abstract, even rambling theories about how he has grown as an artist by answering his Juilliard School students' questions or what one admirer truly means when he compliments Perlman for "playing with the violin."
Think of Itzhak as a revealing scrapbook of Perlman's favorite stories. Here he is on The Ed Sullivan Show in 1958, interpreting "Allegretto non troppo," Mendelssohn's joyful Opus 64. Here he is in the modern day, fielding questions from his students after they listen to a recording of Perlman playing Johannes Brahms' triumphal 17th piece in the "Hungarian Dances" cycle. And here's Perlman at home, drinking red wine and kibitzing with professional ham Alan Alda about the ineffable nature of creative genius just moments before Chernick throws on a clip of a younger Perlman joyfully shredding Johann Sebastian Bach's raucous Second Violin Partita solo for a packed Israeli concert hall in 1974.