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Cinema Verite (2011)

TV-14 | | Drama | TV Movie 23 April 2011
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A behind-the-scenes look at the making of the first American family to be the subjects of a reality TV show.

Writer:

David Seltzer
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Nominated for 3 Golden Globes. Another 7 wins & 31 nominations. See more awards »

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Cast

Cast overview, first billed only:
Diane Lane ... Pat Loud
Tim Robbins ... Bill Loud
James Gandolfini ... Craig Gilbert
Thomas Dekker ... Lance Loud
Caitlin Custer ... Delilah Loud
Kaitlyn Dever ... Michele Loud
Nick Eversman ... Grant Loud
Johnny Simmons ... Kevin Loud
Patrick Fugit ... Alan Raymond
Shanna Collins ... Susan Raymond
Jake Richardson ... Tommy Goodwin
Kathleen Quinlan ... Mary Every
Lolita Davidovich ... Val
Matt O'Leary ... Cameron
Stephen Caffrey ... Tom
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Storyline

A behind-the-scenes look at the making of the first American family to be the subjects of a reality TV show.

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

TV-14 | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

23 April 2011 (USA) See more »

Also Known As:

Cinema Verite See more »

Company Credits

Production Co:

HBO Films, Pariah See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

1.78 : 1
See full technical specs »
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Did You Know?

Trivia

In the scene where Lance Loud is on the phone with his family, he reads a media description of himself and his "flamboyant, leech-like homosexuality". That's a direct quote from an article written for The New York Times by Anne Roiphe. She made equally scathing remarks about the entire Loud family. See more »

Goofs

The Louds' Mercedes has a California plate with the number style 1AAA000. These plates did not appear until 1980. See more »

Connections

Featured in The Tonight Show with Jay Leno: Episode #19.129 (2011) See more »

Soundtracks

Las Mañanitas
Traditional
Performed by Mariachi Voz De America
Courtesy of All Options Media
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User Reviews

 
somewhere between the Maysles and the Jersey Shore, there's Cinema Verite...
21 April 2016 | by Quinoa1984See all my reviews

I wasn't born when the Louds became a major deal in the American public consciousness, as the first sort of "reality" family, but that doesn't matter as I should still be able to take this story on its own terms (for example, what if hypothetically it was all made up, how would it work as a story unto itself). Of course the filmmakers are adept at taking real life and spinning it into docudrama - their breakout sensation was an adaptation of the real life guy who made the comic book American Splendor, Harvey Pekar, which included interviews with the real life subjects - so one would expect this to have some authenticity as it's all about the realm of what is real-real and camera-real. One wonders what the Maysles thought of this filmmaker Gilbert.

As it stands this man, played here by the late James Gandolfini (in the kind of performance that makes me miss him all the more, it's largely subtle work until the third act), is not exactly Maysles. I don't know how close they got to their subjects like the Beales (this made me think back to Grey Gardens quite a bit, also a "reality" movie in its way), but with the Louds it was the "All-American Family", and the ideal for Gilbert in the early 70's was to document it in an anthropological sense: what if aliens come down, after all, in a thousand years and want to see what we were like? It's easy to piece that together in drama, but then once you get the philosophies of Marshall MacLuhan into the mix, which this seems to also be alluding to throughout in a subtextual way, being 'natural' is difficult... at first.

This story of filmmakers following this family - which includes Tim Robbins and Diane Lane as the seemingly happy married couple of a bunch of interesting, happy kids (including one who is gay but quite happy to be in the scenes of Andy Warhol and the Chelsea Hotel and the like) - is certainly gripping for most of its run-time, and gains traction as the drama unfolds for the family. There's infidelity, there's marital strife, and there's Gilbert (usually in the background) with his cameraman and sound recordist in the house getting it all. Sometimes the family doesn't notice they're there. Then they do, and the looks to the camera give it away (maybe my favorite moment is when Robbins, as he's playing the patriarch in an exceedingly tragic and sad moment, gets a foolish grin on his face as he notices the camera as he's getting in his car - it's perfect, it's just how we all would be in that situation, to hide away the pain).

All of the actors can't be faulted in the slightest, and along with Gandolfini and Robbins it's hard to note point out Lane giving one of her best performances in recent memory. But there are times when things seem a little rushed... actually, a lot rushed in the final ten minutes or so, when the series finally airs on PBS and the family has to deal with the fallout. I wish we could see more of this, but the whole movie is only 90 minutes, and after giving us sort of a condensed 'greatest hits' of what this family and the filmmakers went through over several months (almost 80 days to be exact, however over much time I don't know), there seems like it's missing things. I wish there was more there there, and that may be a thing of 'no good movie is long enough' but it's more than that - by the time Cinema Verite wraps up what it has to say, and it's here that the Springer and Pulcini combine the dramatized with the actual of the family on Dick Cavette, it feels a little too little too late.

What if it had been more like 'Splendor', with combining the dramatized with the actual footage? Maybe HBO only gave them so much time, but it feels off in that way. But what is here is still mostly substantial for drama and pathos, and they even get us to feel for a character as lousy (at least from what we can see) as Mr. Loude, in part due to Robbins but also just solid writing. On the whole a little simplistically drawn, and at the same time in the small moments it carries a lot of worth. And to think how far we've come... or fallen, I should say, with what people will let themselves be seen as in "reality" television.


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