7.2/10
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Real Life (1979)

PG | | Comedy | 23 March 1979 (USA)
A pushy, narcissistic filmmaker persuades a Phoenix family to let him and his crew film their everyday lives, in the manner of the ground-breaking PBS series "An American Family". However, ... See full summary »

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Writers:

(as Monica Johnson), | 1 more credit »

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Cast

Cast overview, first billed only:
...
Councilman Harris
...
Matthew Tobin ...
Dr. Howard Hill
...
Dr. Ted Cleary
Mort Lindsey ...
Mort Lindsey
Joseph Schaffler ...
Paul Lowell
Phyllis Quinn ...
Donna Stanley
James Ritz ...
Jack from Cincinnati
Clifford Einstein ...
Role Reversal Family Member
Harry Einstein ...
Role Reversal Family Member
Mandy Einstein ...
Role Reversal Family Member
Karen Einstein ...
Role Reversal Family Member
...
Driving Evaluator
Zeke Manners ...
Driver
...
Warren Yeager
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Storyline

A pushy, narcissistic filmmaker persuades a Phoenix family to let him and his crew film their everyday lives, in the manner of the ground-breaking PBS series "An American Family". However, instead of remaining unobtrusive and letting the family be themselves, he can't keep himself from trying to control every facet of their lives "for the good of the show". Written by frankfob2@yahoo.com

Plot Summary | Add Synopsis

Genres:

Comedy

Certificate:

PG | See all certifications »
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Details

Country:

Language:

Release Date:

23 March 1979 (USA)  »

Also Known As:

Aus dem Leben gegriffen  »

Filming Locations:


Company Credits

Production Co:

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Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

The final scene took three days to film due to constant noise from planes flying overhead. The soundstage was near the Van Nuys Airport. See more »

Quotes

Martin Brand: [after one of Albert's rants] Albert, what the hell are you talking about? Look, let's not argue - say the family's fine, say the family's perfect. Let's talk about YOU for a minute. Look what YOU'VE done. You FAILED - that's what you did, you shmuck, you failed. You started out with this artsy-craftsy reality crap and what did you end up with? The NEWS, the goddamned NEWS! People get that for free! You think somebody's gonna hire a babysitter, take a taxicab, go all the way the hell downtown, ...
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Crazy Credits

The end credits finishes with a barcode for Alka-Seltzer See more »

Connections

References Star Wars: Episode IV - A New Hope (1977) See more »

Soundtracks

Something's Gotta Give
Written by Johnny Mercer
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User Reviews

 
Real misfire
5 April 2009 | by (Pittsburgh, PA) – See all my reviews

This film has one funny sight gag - the camera men with their high-tech (for its time) helmet cams prowling the Yeager and Brooks households like voyeuristic aliens. And that's it. Otherwise, it is a static, flat satire that goes nowhere. I'm amazed to read some other comments describing Brooks' first film as "complex." It's consistently dumb and obvious and desperate - the "perfect" family is actually dysfunctional, the black academic is a prig who resents being racially stereotyped, the Hollywood producer only cares about making money not art, a gynecologist is actually a baby trader who was ambushed by "60 Minutes" (sounds funnier than it plays) -- and so on. Ha ha. At nearly every turn, Brooks sucks the humor out of every potentially humorous situation. He doesn't know how to pace in the longer format and the film feels horribly padded, as well. I sat there stone-faced for a little over an hour and a half waiting for the humor to kick in, charitably chuckling here or there.

Of course with the explosion of reality programming over the last decade, one would think that this film was ahead of its time. But Brooks botches it by focusing more on himself and the totally unfunny scientific institute. We don't even meet the Yeagers until about a half hour into the picture. There is absolutely no need for the scientific institute in the film, and Brooks should have remained OFF camera, goading and cajoling the Yeagers into being more "real" from behind the scenes. That might have been funny. But what we get is Brooks moving into the house next door (not funny) and expecting what? This is where the movie makes no sense. Does he want conflict or the "perfect family" being perfect? Because when he gets conflict, he seems dissatisfied, and the institute reacts with grave concern that jeopardizes the entire project. But isn't that the whole point? Why would the institute even become involved unless they wanted to study the ups and downs and everyday struggles of a typical American family? The whole concept is half-baked and hopelessly confused.

This film makes so many poor choices. Why would the studio send the Yeagers on a two-week trip to Hawaii? It's not funny and serves no purpose. The film within the film is supposed to be about the film-makers' callous intrusion into the Yeagers' life, not their generosity. Generosity isn't funny. When the Yeagers return, Brooks opts to give them an hour to themselves. Again, how is this funny? He should be right on top of them from the first moment and never let up. He shouldn't live in the house across the street, he should live IN the Yeagers' house. Time after time, Brooks shys away from where the laugh is. When the documentary finally starts filming, the wife complains of menstrual cramps at the dinner table (not funny) which triggers an unfunny argument with husband Charles Grodin, and we see that reality is messy, unpleasant. Might have been funny or interesting if the film had built to that moment, showing the Yeagers gradually breaking down under the constant scrutiny of their lives. But it happens with no build-up, no tension, no funny.

Strangely, Brooks seems bored with the Yeager family. They never come into focus, particularly the children. The young son is given nothing to do and barely registers. The daughter gets one junior-high-school-drama queen scene, then is forgotten. The wife flirts with Brooks early on (not funny) but that's quickly dropped. Why would the wife possibly invite Brooks to film her visit to a gynecologist? Not funny. Might have been funny if she had let it slip she had an appointment with the gynecologist and Brooks had tailed her there and surprised her at the office. And Grodin, a very funny actor, is completely wasted in the bland role of the bland father trying to maintain his bland image.

Brooks ill-advisedly makes himself the star, and he just isn't at the top of his game here. His neurotic ramblings don't have much bite, his character isn't sharply enough written, and his goals never become clear. I should have been tipped off in the first scene. Brooks is schmaltzily introducing himself and the institute representatives to the town. The black academic is uncomfortable in this setting and doesn't stand up when introduced. Brooks jokes that if the audience is wondering why he didn't stand it's because he "doesn't eat much." Huh? Oh, I guess I just don't get that complex Brooks humor.


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