Real Life (1979)

PG | 99 mins | Comedy | 2 March 1979

Full page view
HISTORY

The film begins with the following written prologue: "In 1973 the Public Broadcasting Service presented a twelve hour series, 'An American Family,' in which filmed segments of a real family's life (the Bill Louds of Santa Barbara) were shown on television. Anthropologist Margaret Mead said of this experiment, 'It is, I believe, as new and as significant as the invention of drama or the novel...a new way in which people can learn to look at life, by seeing the real life of others interpreted by the camera.' The motion picture you are about to see is the next step. It documents not only the life of a real family, but of the real people who came to film that family, and the effect they had on each other."
       End credits contain a "Special Thanks" to the following individuals and organizations: Marshall Berkowitz; Marty Berman; Harriet Brady; Tom K. Dean; Melvin Garb; George Goldstein, Jr.; Peter Ivers; Everett Kovler; Peter Kovler; Ira Lavin; Charles Lubin; Lee Pfaffl; Byron Paul; Michele Rappaport; Mr. & Mrs. Gene Spencer; John Staub; Harold R. Stern; Arthur Wirtz; Abbey Rents; The Arizona Republic; KAET TV 8, Phoenix; KOY Radio 55, Phoenix; KPHO TV 5, Phoenix; KTAR TV 12, Phoenix; KXIV Radio 1400, Phoenix; Travelodge International, Inc.; Vector General; and Xerox Corporation. End credits conclude with a large bar code.
       Real Life marked writer-director Albert Brooks’s theatrical feature film debut. According to production notes from AMPAS library files, Brooks began work on the script in Mar 1976 with Harry Shearer and Monica Johnson, and they finished in Nov 1976. In the following eight months, Brooks raised money for the production budget. An 18 Dec ...

More Less

The film begins with the following written prologue: "In 1973 the Public Broadcasting Service presented a twelve hour series, 'An American Family,' in which filmed segments of a real family's life (the Bill Louds of Santa Barbara) were shown on television. Anthropologist Margaret Mead said of this experiment, 'It is, I believe, as new and as significant as the invention of drama or the novel...a new way in which people can learn to look at life, by seeing the real life of others interpreted by the camera.' The motion picture you are about to see is the next step. It documents not only the life of a real family, but of the real people who came to film that family, and the effect they had on each other."
       End credits contain a "Special Thanks" to the following individuals and organizations: Marshall Berkowitz; Marty Berman; Harriet Brady; Tom K. Dean; Melvin Garb; George Goldstein, Jr.; Peter Ivers; Everett Kovler; Peter Kovler; Ira Lavin; Charles Lubin; Lee Pfaffl; Byron Paul; Michele Rappaport; Mr. & Mrs. Gene Spencer; John Staub; Harold R. Stern; Arthur Wirtz; Abbey Rents; The Arizona Republic; KAET TV 8, Phoenix; KOY Radio 55, Phoenix; KPHO TV 5, Phoenix; KTAR TV 12, Phoenix; KXIV Radio 1400, Phoenix; Travelodge International, Inc.; Vector General; and Xerox Corporation. End credits conclude with a large bar code.
       Real Life marked writer-director Albert Brooks’s theatrical feature film debut. According to production notes from AMPAS library files, Brooks began work on the script in Mar 1976 with Harry Shearer and Monica Johnson, and they finished in Nov 1976. In the following eight months, Brooks raised money for the production budget. An 18 Dec 1978 LAT article explained that David Geffen was once involved with the project when he was an executive at Warner Bros., Inc., but after a “management upheaval” at the studio, Geffen and Brooks’ collaboration ended.
       Filming began Nov 1977, lasted six weeks, and took place in Los Angeles, CA, and Phoenix, AZ. A seven-month post-production period followed, and final editing took place at Samuel Goldwyn Studios, as stated in a 21 Jun 1978 HR brief. Paramount Pictures later signed on to distribute the film, as announced in HR on 18 Dec 1978.
       Real Life opened to mixed reviews. In an 8 Mar 1979 HR review that erroneously referred to the film as Real People, Charles Ryweck stated that the film lacked humor and paled in comparison to Brooks’s work as a stand-up comedian. A 23 Mar 1979 LAT review commended Charles Grodin’s portrayal of “Warren Yeager” but criticized Brooks’s performance as “one-note.” However, in a positive review on 2 Mar 1979, NYT’s Janet Maslin described Brooks’s “one-dimensional character” and “one-note premise” as “deliberate” and stated that the film “work[ed] remarkably well.”
       According to a 16 Mar 1979 HR brief, Paramount distribution executive Frank G. Mancuso announced that, after opening at the Cinema II theater in New York City, the film was set to screen at additional theaters in the United States and Canada in the upcoming weeks. A 14 Mar 1979 HR news item reported the film’s first-week earnings at Cinema II as $22,939, and stated that it took in an additional $14,677 in box-office receipts during its second weekend at the theater.

Less

GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
5 Mar 1979
p. 3, 8
Hollywood Reporter
21 Jun 1978
---
Hollywood Reporter
22 Jun 1978
---
Hollywood Reporter
18 Dec 1978
---
Hollywood Reporter
8 Mar 1979
p. 3, 24
Hollywood Reporter
14 Mar 1979
---
Hollywood Reporter
16 Mar 1979
---
Los Angeles Times
18 Dec 1978
Section F, p. 15
Los Angeles Times
23 Mar 1979
Section G, p. 32
New York Times
2 Mar 1979
p. 12
Variety
7 Mar 1979
p. 20
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
1st asst dir
2d asst dir
PRODUCERS
Exec prod
Exec prod
PHOTOGRAPHY
Dir of photog
Addl photog
Asst cam
2d asst cam
Gaffer
Best boy
Key grip
Addl grip
Addl grip
Laboratory services
ART DIRECTORS
Art dir
Art dir
FILM EDITORS
Assoc ed
Negative cutter
SET DECORATOR
Spec props
MUSIC
Mus ed
SOUND
Re-rec mixer
Mixing services
Transfer services
VISUAL EFFECTS
Dick Albain
Spec eff
Computer graphic
Titles and opt eff
MAKEUP
Makeup
PRODUCTION MISC
Scr supv
Prod asst
Prod asst
Prod accountant
Pre-prod secy
Post-prod secy
Extras casting
Loc asst
Loc asst
SOURCES
MUSIC
"Tara Theme," by Max Steiner.
SONGS
"Something's Gotta Give," by Johnny Mercer; "Jump into the Fire," by Harry Nilsson.
DETAILS
Release Date:
2 March 1979
Premiere Information:
New York opening: 2 Mar 1979; Los Angeles opening: 23 Mar 1979
Production Date:
began Nov 1977
Copyright Info
Claimant
Date
Copyright Number
Paramount Pictures Corporation
26 November 1979
PA50858
Physical Properties:
Sound
Color
Lenses/Prints
Lenses and Panaflex cameras by Panavision®
Duration(in mins):
99
MPAA Rating:
PG
Country:
United States
Language:
English
SYNOPSIS

At a town hall meeting in Phoenix, Arizona, Councilman Ed Harris informs townspeople about an upcoming movie shoot. Harris explains that the Yeagers, a local family, will be the stars of an “unusual” production directed by comedian Albert Brooks. Harris introduces Albert, who explains that he will be filming the Yeagers in order to capture the drama of their daily lives and asks the townspeople to act naturally when interacting with them on camera. Albert points to two scientists in the room, Dr. Howard Hill and Dr. Ted Cleary, who are acting as psychological consultants on the project. Months earlier, at The National Institute of Human Behavior (NIHB) in Boulder, Colorado, over two hundred families who applied to be in Albert’s film are gathered for final testing. Albert is filmed showing the different technologies that will be used during production, including a newly developed camera, the Ettinauer 226-XL, shaped like a helmet so that it can be worn over a cinematographer’s head. After six weeks of testing, two families remain: the Feltons, from Wisconsin, and the Yeagers, from Arizona. Albert chooses the Yeagers as his subjects because he does not wish to spend the winter in Wisconsin. Soon after, Albert buys a home in Phoenix, across the street from the Yeagers, and sends them on a two-week trip to Hawaii while he settles in. Upon their return, he greets them at the airport with Drs. Hill and Cleary. Cleary informs the family that he plans to write an article on the project for the Journal of American Psychology. When they return home, Albert introduces the film crew to their subjects: veterinarian Dr. Warren Yeager, his wife Jeanette, and their ...

More Less

At a town hall meeting in Phoenix, Arizona, Councilman Ed Harris informs townspeople about an upcoming movie shoot. Harris explains that the Yeagers, a local family, will be the stars of an “unusual” production directed by comedian Albert Brooks. Harris introduces Albert, who explains that he will be filming the Yeagers in order to capture the drama of their daily lives and asks the townspeople to act naturally when interacting with them on camera. Albert points to two scientists in the room, Dr. Howard Hill and Dr. Ted Cleary, who are acting as psychological consultants on the project. Months earlier, at The National Institute of Human Behavior (NIHB) in Boulder, Colorado, over two hundred families who applied to be in Albert’s film are gathered for final testing. Albert is filmed showing the different technologies that will be used during production, including a newly developed camera, the Ettinauer 226-XL, shaped like a helmet so that it can be worn over a cinematographer’s head. After six weeks of testing, two families remain: the Feltons, from Wisconsin, and the Yeagers, from Arizona. Albert chooses the Yeagers as his subjects because he does not wish to spend the winter in Wisconsin. Soon after, Albert buys a home in Phoenix, across the street from the Yeagers, and sends them on a two-week trip to Hawaii while he settles in. Upon their return, he greets them at the airport with Drs. Hill and Cleary. Cleary informs the family that he plans to write an article on the project for the Journal of American Psychology. When they return home, Albert introduces the film crew to their subjects: veterinarian Dr. Warren Yeager, his wife Jeanette, and their children Eric and Lisa. Afterward, he dismisses everyone but the cameramen, explaining that he had to hire a full crew for union purposes but will not use them. That night, the Yeagers are filmed eating dinner. Jeanette complains of menstrual cramps at the table, wearing a bathrobe and a heating pad on her lap. Aware of the cameras, Warren becomes embarrassed. When he tries to encourage the children, Eric and Lisa, to be polite, they storm away from the table. Warren and Jeanette argue, and Jeanette blames her cramps on an intrauterine device (IUD) she had inserted at Warren’s behest. Fed up, Jeannette announces that she will have her IUD removed on Monday. At his house across the street, Albert confers with Hill and Cleary about the events of the day, and Cleary suggests they should have given the family more time to recover from their trip before filming. The next day, Jeanette leaves to stay at her friend Margaret’s house, claiming that she shouldn’t be filmed until she feels better. Albert tries to stop Jeanette from leaving and asks if one cameraperson may accompany her, but she refuses. Two days later, Jeanette requests a private meeting with Albert. At a shopping center, she finds him waiting with cameramen and is upset that they’re not alone. Nevertheless, she thanks Albert for allowing her time away and tells him that she likes him. To show her gratitude, Jeanette says the crew may follow her to her gynecologist appointment the next day; however, she forbids Albert from telling Warren, who may not approve. Confessing that she and her husband have been arguing lately, she cries on Albert’s shoulder and kisses him on the mouth before walking away. In the morning, Jeanette’s gynecologist, Dr. Maxwell Rennert, becomes hysterical when he sees the camera crew and covers his face, alluding to previous legal troubles. Albert attempts to bribe him, then recognizes him as “the baby broker,” a corrupt doctor who was documented on Sixty Minutes for selling babies on the black market. On the sixth day of filming, Jeanette calls Albert to tell him that her grandmother had a stroke. When Albert realizes she called him before Warren, he discourages Jeanette from forming an attachment to him. On the day of Lisa’s confirmation, Warren must go to the veterinary hospital for an emergency, and the rest of the family becomes disappointed when the film crew follows Warren instead of Lisa. As Warren prepares to perform a bypass surgery on a horse, he orders too much anesthetic and kills the animal. Concerned about his professional reputation, Warren asks Albert not to include the footage of the operation in the film, but Albert makes no promises. Soon after, Jeanette’s grandmother dies and the film crew attends the funeral. The family falls into a depression, and Albert asks Jeanette to go to dinner with him in the hopes of cheering her up. Jeanette rejects his offer, having realized that she must improve her relationship with Warren. Albert asks her to start talking in front of the cameras again, and though she promises, the Yeagers continue to live in silence. Later, Albert meets with Dr. Jeremy Nolan and Dr. Anne Kramer from NIHB, as well as Cleary, Hill, and a studio executive named Martin Brand, to discuss the film. An analysis of the Yeagers’ behavior since the start of filming has determined that the project is causing significant changes in the family members, and Albert is now filming a “false reality.” They review footage that shows Warren has begun drinking coffee with both hands, instead of using only his right as he did in the beginning. Cleary suggests that Albert move out of the house across from the Yeagers to allow the family more privacy and stability. When Albert refuses, Cleary quits the project. Sometime later, Albert gives the Yeagers a big-screen television, and the family’s mood improves. On the forty-sixth day of filming, however, an article in the local newspaper profiles an upcoming book, Nightmare in the Desert, written by Dr. Cleary and chronicling Albert’s project. News reporters follow the Yeagers around town, and an emergency meeting is held during which Dr. Isaac Steven Hayward from NIHB tells Albert that his efforts have become counterproductive, and the family members are “close to complete personality disintegration.” The Yeagers arrive at Albert’s house, interrupting the meeting to announce their resignation. After everyone leaves, Albert cries to a cameraman about his failure while Dr. Hayward conducts an exit interview with the Yeagers . Desperately searching for ideas to save the picture, Albert remembers the fire at the end of Gone with the Wind and decides to set fire to the Yeagers’ home. Moments later, he interrupts their meeting with Hayward wielding a torch. As the house burns down, Albert screams triumphantly in front of the camera. The Yeagers are eventually paid their $25,000 fee and their house is rebuilt, and Cleary’s book fails upon publication.

Less

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

TOP SEARCHES

Mr. Smith Goes to Washington

According to HR news items, "The Gentleman from Montana" (an unpublished story by Lewis R. Foster, alternately called "The Gentleman from Wyoming" by both contemporary and modern ... >>

The Grapes of Wrath

According to materials contained in the Twentieth Century-Fox Records of the Legal Department at the UCLA Theater Arts Library, Fox paid John Steinbeck $70,000 for the rights to his ... >>

It's a Wonderful Life

Philip Van Doren Stern's story, which, according to many contemporary and modern sources, was originally written in Nov 1939, was enclosed by him in his 1943 Christmas cards. Although ... >>

Citizen Kane

This film's end credits begin with the statement, “Most of the principal actors in Citizen Kane are new to motion pictures. The Mercury Theatre is proud ... >>

Friday the 13th Part 2

       According to an article in the 5 May 1981 DV, Friday the 13th (1980, see entry) was the “surprise box office hit” of 1980. ... >>

The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.