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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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(as Monica Johnson), | 1 more credit »

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Cast

Cast overview, first billed only:
...
Councilman Harris
...
Matthew Tobin ...
Dr. Howard Hill
...
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
...
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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

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Comedy

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PG | See all certifications »
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23 March 1979 (USA)  »

Also Known As:

Aus dem Leben gegriffen  »

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1.85 : 1
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Did You Know?

Trivia

Included among the "1001 Movies You Must See Before You Die", edited by Steven Schneider. See more »

Quotes

Albert Brooks: I think we're very much alike. See that's why we can get into these kind of debates. I think you'd be surprised at much alike we really are.
Dr. Ted Cleary: I'd be more than surprised. I'd be suicidal.
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Crazy Credits

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

Connections

References 60 Minutes (1968) See more »

Soundtracks

Tara Theme
Written by Max Steiner
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User Reviews

Albert Brooks is the ultimate farceur.
4 September 1999 | by (Sault Ste. Marie, Ont.) – See all my reviews

'Real life' is the perfect send-up of the worst scenario possible for a film maker shooting a documentary, i.e., what happens when your subject matter loses interest in the project before completion? Albert Brooks, as the seemingly besieged director of this 'loaf of reality' year long vigil with a typical American family, walks a fine line between egomania and neuroticism and scores with broad belly laughs both ways. Charles Grodin as the head of the suburban clan from which this film within a film emanates exudes his special brand of bland exuberance at the beginning of this captive camera stakeout inside his home(and everywhere else he may go) provided his life is depicted as letter perfect from day to day. When such is not the case and the obtrusive lenses are interfering with his job as a veterinarian, (in a sequence that has to be seen rather than described) then Grodin regards the camera presence as nothing more than an albatross and mentally switches himself off. Albert Brooks, meanwhile, never says quit. Every so-called hair in the eye of the lense is still a perfect scene regardless of the participation or lack of it, thereof, from his celluloid family. For Brooks regards this film as 'paramount'(oops) over the desires of his cast of characters. Brooks facile mind works methodically from beginning to end. From his perspective, nothing can go wrong, everything is in its place with a place for everything. So when his documentary and the human equation around it blow up in his face , his conferences with colleagues are hilarious as he tries various remedies to salvage not only his project but his self-image. Brooks is a comic delight as a man who cannot take criticism regarding his methods and his interaction with project staff are decidedly one-sided, but in the capable hands of this farceur, his myopic viewpoint is always good for guffaws galore. Real life should be this funny.


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