Cinema Verite

"One must never let the public behind the scenes for they are easily disillusioned and then they are angry with you, for it is the illusion they love." The first successful reality show was on PBS and it was about the Loud family. The show followed around Pat (Lane) and Bill (Robbins) Loud and their family. It was the first of it's kind and this movie about how it started, what it was like while it was going on and the aftermath. I was actually pretty excited about watching this because of the cast. I have to say I was not disappointed at all. The acting was great in this and the movie itself was very entertaining. I have never been a fan of reality TV but it was very interesting to see how the genre began and the immediate impact that the show had. I do have to say though that as great as this movie is and how interesting it was to see the family problems come to the surface I still have no interest to watch the real "American Family" show. That in no way means that I did not enjoy watching the Loud family in this movie though. Overall, an excellent movie that should be watched. Very, very interesting and makes me wonder how accurate it is. I give it an A-.

CINEMA VERITE tries very hard to justify the trend it began in the 1970s by having a camera crew move into the household and private life of the well-to-do Loud family in Santa Barbara. The idea of a docudrama about a docudrama is acceptable as a flag for the obsession with Reality TV shows spawned by this experiment. Unfortunately the writing (by David Seltzer - apparently based on the book written by Pat Loud 'A Woman's Story' about the experience) is spotty and the recreation of (1971 when the 'series' was filmed and 1973 when it hit the television screens) reminds us how boring that time frame was. The direction by Shari Springer Berman and Robert Pulcini imitates the dreary 'spontaneity' of live action drama the film addresses. It plods, tripping on the cables for the cameras placed inside the home of this sad story.

Documentary producer Craig Gilbert (James Gandolfini) devises a concept for PBS he calls 'An American Family' and searches for a family that does not depict the happy-wappy family of staged productions but instead inters the privacy of an American family, examining all the aspects of that institution. He selects the Loud family, particularly because he sees Pat Loud (Diane Lane) as an early women's rights activist able to say truths others might avoid. Gilbert paces his documentary to unveil the dirt that hides behind the scenes - motivated to prod Pat to discover Bill (Tim Robbins) her husband's infidelity, which led her to seek a divorce. The Louds have two sons involved in the dream of becoming a rock band, a daughter in the throes of discovering teenage love, and a gay son Lance (Thomas Dekker) who has moved to New York to live a raucous life without the approval of his father but one visited by Pat without complete acceptance. The film crew consists of a married couple - Alan Raymond (Patrick Fugit) and Susan Raymond (Shanna Collins) - who reluctantly agree to film even the most embarrassing scenes of the film. The gradual crumbling of the Loud marriage - not helped by either Gilbert or by Pat's 'friend' Val (Lolita Davidovich) who is actually another one of Bill's affairs - is what producer Gilbert wants to record, and he succeeds. The Louds end their marriage, Lance later dies of AIDS, and the other children have minor successes in their lives. But the overriding feeling of this film is showing how the inquisitive media can be destructive in attempting to share reality with the world at large. And so began the glut of reality shows that yearly grow more irreverent in respecting privacy.

Diane Lane brings moments of brilliance to her role as the manipulated Pat and James Gandolfini is given the opportunity to push his acting chops. The problem is that we all know the quasi-tragic story on which this film is based, and making us witness it again is less than entertaining. It is disturbing.

Grady Harp

Naturally, it doesn't feel real. The first show of its kind, brought America into a debacle of sorts. Was this an "art form" or a voyeuristic trip into the unknown? Now, the whole thing feels manipulated, fragmented and utterly unreal. The gay son, brought the situation into the main stream but it was misunderstood, or was it? The one thing I got out of this films was a superlative performance by Diane Lane. She is truly extraordinary. But the task of reproducing the "moment" feels a bit all over the place. Going from highlight to highlight, if you didn't know about it you still won't really understand. This is no Truman Show. The dramatic structure seems not merely uncertain but downright opportunistic. Needless to say, I was disappointed.

Minor, though still entertaining cable-made docudrama from directors Shari Springer Berman and Robert Pulcini chronicling the would-be Sturm und Drang that went on behind-the-scenes of PBS's "American Family", an 11-hour television series in 1971 which presented the lives of The Louds, a "typical" family from Santa Barbara, CA. The Louds, who have since cemented their legacy as the first reality-TV family, brought in big ratings for the so-called "education network". Ordinary people, they were picked out of a society column by an ambitious producer and were followed around by a small camera-crew for some 78 days; still, high drama was hard to come by (patriarch Bill Loud had the wandering eye; eldest son Lance Loud was a flamboyant singer who had already moved to New York City when production began; while spouse Pat Loud, strong and confident, was the glue who kept kids and husband together). There wasn't much happening behind--nor in front of!--the lens, except for some mild flirting between Pat and the crafty, cunning producer, and Pat's discovery that her husband had been carrying on affairs with a number of different women. The editors of the actual show had a tough time piecing together enough watchable product, while this rendering of events, penned by the estimable David Seltzer, suffers the same fate. The groovy production-design is spot-on, and Diane Lane has several strong moments portraying Pat...yet this American family simply wasn't cliffhanger material. It all seems much ado about nothing.

Surprisingly successful HBO film, which takes on the tricky multi-layered task of making a fictionalized docudrama about the making of "An American Family" a 10 hour PBS documentary that was the direct forerunner the surreal and semi-real world of 'reality television' we know today.

James Gandolfini plays James Gilbert, who has the brilliant idea to study a 'typical' American Family on film, almost as if it were an archaeological document. But of course no family is 'typical' (particularly the upscale Loud family), and all sorts of sticky moral, ethical and cinematic walls are crashed into. How objective can a documentary really be? What is, or should be off-limits of a prying camera? How much do the personalities and needs of the film-makers effect the behavior and choices subjects, subtly or sometimes very dramatically?

It also explores questions about family, as did the original series, but with the value of the passage of years to give context and distance. What is normal? Who are the heroes and villains in the complexities of family life? Are things ever that simple? Why do so many of us want to be seen, known? Or at least think we do?

It's very impressive that an 86 minute film can address so many of these questions so intelligently, entertainingly, disturbingly and ultimately movingly. The acting is all solid, with Diane Lane giving what may be the most impressive performance of her career, disappearing into the role of Pat Loud, the confused, self-searching mother.

While one could validly argue that there was more to explore (e.g. why was this series such a phenomenon? Why are we so driven to watch the train wrecks of other's lives?) this film does a terrific job of self-awarely playing with multiple layers and meanings of 'reality'. Not least when we briefly see footage of the real family cut in. Not surprising from these filmmakers, who also played with various levels of drama vs. reality so well in "American Splendor".