Although Mike Leigh's Topsy-Turvy examines only a small stretch of Gilbert and Sullivan's career, it seems to capture much more of their relationship, while also offering considerable commentary on their times, their culture, and the creative process itself. Grateful Dawg, a documentary on the occasional partnership between Grateful Dead patriarch Jerry Garcia and ace experimental mandolin player David Grisman, chooses to examine the whole of their career and comes up with only one observation: Garcia and Grisman enjoyed making music together. Acquaintances since the '60s, Garcia and Grisman brought a new audience to bluegrass music in 1975 with the one proper album produced by their band Old And In The Way. After mending a falling-out in the '80s, the pair reunited for several releases in the years preceding Garcia's 1995 death. Directed by Grisman's daughter Gillian, and filled out by interviews with seemingly every member of the Grisman family, Grateful Dawg plays more like a polished home movie than a proper film. Though Gillian Grisman presumably had unlimited access to her father's film archives, Dawg's footage seems haphazardly assembled. Unless its subject only had two outfits, most of the concert footage seems to have been drawn from the same two performances. It would be bad enough that Garcia/Grisman's only music video, itself a low-rent effort, fills out the run time, even if it weren't sandwiched between a discussion of its production details. (Apparently, Garcia and Grisman spent the afternoon of the video shoot talking to each other.) And any viewers who wondered how the artwork of the Not For Kids Only album came together need wonder no more. The performances are mostly lovely, but they're almost invariably interrupted by interview footage in which no one offers much insight into why the pairing worked or what it meant. "That was destiny," one Grisman or another says about the team, but Grateful Dawg does little to back up the statement.