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Real Life (1979)

PG | | Comedy | 23 March 1979 (USA)
A film crew sets out to record a year in the life of an average family, but things quickly start going wrong.

Director:

Albert Brooks

Writers:

Monica Mcgowan Johnson (as Monica Johnson), Harry Shearer | 1 more credit »

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Cast

Cast overview, first billed only:
Dick Haynes ... Councilman Edmund Harris
Albert Brooks ... Albert Brooks
Matthew Tobin Matthew Tobin ... Dr. Howard Hill
J.A. Preston ... Dr. Ted Cleary
Mort Lindsey Mort Lindsey ... Mort Lindsey
Joseph Schaffler Joseph Schaffler ... Paul Lowell - Realtor
Phyllis Quinn Phyllis Quinn ... Donna Stanley - Gift Shop Owner
James Ritz James Ritz ... Jack from Cincinnati
Clifford Einstein Clifford Einstein ... Role Reversal Family Father
Harold Einstein Harold Einstein ... Role Reversal Family Son
Mandy Einstein Mandy Einstein ... Role Reversal Family Mother
Karen Einstein Karen Einstein ... Role Reversal Family Daughter
James L. Brooks ... Driving Evaluator
Zeke Manners Zeke Manners ... Driver in Evaluation
Charles Grodin ... Warren Yeager DVM
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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:

USA

Language:

English

Release Date:

23 March 1979 (USA) See more »

Also Known As:

A Vida Como Ela É See more »

Company Credits

Production Co:

Paramount Pictures See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

One of the reasons Albert Brooks wanted to cast Charles Grodin as the father was because of Grodin's work on Candid Camera (1972). Brooks felt that Grodin would look like he wasn't acting, because on the TV show he had to fool ordinary people into believing that he wasn't acting. See more »

Quotes

Albert Brooks: I don't remember a time in my whole life when I haven't been close to complete personality disintegration! And how the hell would you know what these people are feeling anyway? From your Mickey Mouse tests?
Dr. Hayward: Don't blame the tests for what they tell us.
Albert Brooks: Oh, I don't blame them. They're great! Why don't we do more, huh? More tests! I bet you'd like that, wouldn't you, Nolan? Want to get that cup again? Come on, we'll get you lots of cups! Maybe a hundred cups! I'll tell you something about you ...
See more »

Crazy Credits

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


Soundtracks

Jump Into The Fire
Written by Harry Nilsson
See more »

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User Reviews

 
Very, Very Close
4 January 2003 | by bix171See all my reviews

In his directorial debut, Albert Brooks combines the broad but edgy satire developed in his short films on `Saturday Night Live' with the ruthless self-flagellation that would become his trademark and while it falls short of the genius that would explode in `Modern Romance' and `Lost In America', it's chock full of purpose. Brooks has a lot on his plate and wants to make sure he gets it all out in the open: his targets include documentary filmmaking, reality television (his prescience about today's programming is surprising), Hollywood and, not least of all, the role of the comedian as social critic in society. As a narcissistic comedian/filmmaker intruding into the lives of a hapless Phoenix nuclear family (the parents are Charles Grodin and Frances Lee McCain), Brooks immediately establishes a sophisticated filmic style that includes a mastery of long, uncomfortable takes and a shrewd sense of camera placement that keeps you tuned into the conceit of having lives recorded for fun and profit; that the conceit turns outrageously psychotic at the end only adds to the immaculate design. Unlike Woody Allen, whose unsightly condescension towards his audience is obvious and demeaning, Brooks respects his viewer's intelligence and rewards it with challenging material that's also accessible and funny.


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