“Never” is the word I would use to describe how often I’ve watched a film of any sort and smiled like an idiot all the way to the end. Sure, I’ve laughed, cried, mused or become deeply depressed while allowing directors to have their way with me for an hour or two. But smiling alone in a cozy room transfixed by a TV is not a default mode I would cop to.

The cause of this Mona Lisa pose was my watching “The Greatest Night in Pop,” a new documentary from director Bao Nguyen (“Be Water”) about the epic making of the 1985 charity single, “We Are the World.” The song was recorded on Jan. 28, 1985, by more than 40 top musicians to raise money for famine relief in Ethiopia. (From 1983 to 1985, up to 1.2 million people starved to death there.)

On March 7 that same year, the song was released by Columbia Records, topping charts in several countries and becoming the fastest-selling American single in history up to that time. Imagine: Everyone everywhere listening to the same song at the same time. This was something of a miracle, but it paled in comparison with the process of creating the song and gathering a wildly talented group of performers from across the United States, inventing solos and harmonies against the clock, and ending an all-nighter with a recording for the ages.

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Who wouldn’t smile at such a gathering of musical gods for a singular, selfless purpose? Well, for one, my musically astute son. When I urged him to watch the documentary, he demurred and said, “Watch ‘Slow Horses.’ I feel like I’m casting good taste into the void.” I suppose I knew the day would come when I would be viewed by my own offspring as culturally inferior.

“Well, it was my era,” I responded with more than a tinge of pride. “You were one at the time.” The fact is, nothing since has touched the creation of “We Are the World.”

The documentary walks us through the process, from Harry Belafonte’s ambitious idea to the songwriting by Lionel Richie and Michael Jackson (so young!), to live footage from the Los Angeles studio where the recording was done immediately following the 1985 American Music Awards. Co-producers Quincy Jones and Ken Kragen donated their time away from other projects, as did all the busy people involved. Bruce Springsteen flew out from New Jersey, arriving too late to collect his award for “Dancing in the Dark,” which had been voted “favorite pop/rock single.” (He didn’t stop smiling all night either.)

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The recording event itself was a heroic effort by Richie, who also hosted the awards ceremony, performing twice himself and winning six awards before dashing to the studio to hold everything — and everyone — together through what became a very long night.

After a few hours, the musicians were tired, hungry — Al Jarreau was overserved — and, as someone noted, the crowded room was getting “ripe.”

Even so, everyone remained pleasant enough and patient, considering that some parts of the song had to be reimagined in real time. At one point, Huey Lewis, Cyndi Lauper and Kim Carnes were asked to harmonize a tricky section, a feat that required many tries. Several of the musicians had one-line solos, while others sang in the chorus — including Dan Aykroyd, Bob Geldof, all the Jackson siblings, Waylon Jennings, Bette Midler, Smokey Robinson and John Oates.

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Soloists included Richie and Jackson, Stevie Wonder, Paul Simon, Kenny Rogers, James Ingram, Billy Joel, Diana Ross, Dionne Warwick, Willie Nelson, Jarreau, Springsteen, Kenny Loggins, Steve Perry, Daryl Hall, Bob Dylan and Ray Charles. With a roster like this, I hate to leave anyone out, but the column must go on.

What is so striking about the documentary, besides how young everyone was, is how human they were. “Check your egos at the door,” read the sign on the front door of A&M Studios, and it seems they did, notwithstanding a few notable “moments.” Several participants said what a thrill it was to meet other musicians they admired. Stevie Wonder was silly and funny. Michael Jackson was shy and deferential. Huey Lewis, among others who tell the story, talked about how nervous he was for his solo line, which was originally intended for no-show Prince. The giddy Cyndi Lauper wondered how she got to be in the room.

The song won many awards and raised more than $80 million (about $214 million today) for humanitarian aid in Africa and the United States.

We rarely get to witness the better angels of anyone’s nature. Watching these thoroughly likable supertalents surrender themselves to the cause of saving lives, set to life-affirming music, invites a two-hour smile. I think I’ll watch it again.

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