| Documentary
on the Friedmans, a seemingly typical, upper-middleclass Jewish
family whose world is instantly transformed when the father and
his youngest son are arrested and charged with shocking and horrible
crimes. [TRAILER]
STEVEN
SNYDER'S REVIEW
In
many ways, "Capturing the Friedmans" is
a movie that exemplifies the popular theory that fact is often stranger
than fiction.
About an average family torn apart in 1987 with the discovery of child
pornography and allegations of child molestation, "Friedmans" is
a surreal mix of passive documentary and active investigation. Director
Andrew Jarecki, who deserves most of the credit for this shocking documentary,
walks the line between past and present perfectly, creating a whirlwind
of pervasive mystery and blurred clarity that is endlessly engaging.
It starts with some of the family’s home videos showing, on the
surface, the ideal American family - three boys and happy parents living
in a prosperous area with everything to feel good about. But then,
after authorities intercept child pornography bound for the family’s
father, a search warrant yields a most disturbing discovery: stacks
of child porn, often involving young children, hidden in the basement.
As if this were not shocking enough, it turns out the father is teaching
computer classes to local children. As police spread out to interview
neighbors, curious if this obsession with young boys led to direct
acts, they find numerous allegations of disturbing misconduct. The
father is arrested, the family’s oldest son is arrested and the
Friedmans find themselves in utter chaos.
But just as this film seems to choose a direction, and just as the
audience thinks it has deciphered the complex and disturbing facts
of the case, Jarecki begins throwing one wrench after another into
his seemingly logical documentary machine.
In returning to the case, years after it was decided, and interviewing
the participants, several facts become clear. Neither the father nor
the son believed they were guilty. There is evidence that police intimidated
suspects into fabricating allegations of sexual misconduct. The father
may have had a sexual relationship with his brother in his childhood.
He also wrote a long letter of sexual fantasies to an investigative
reporter.
Some of the claims against both father and son seem impossible, given
the witnesses present at the time and the short time span of Friedman’s
computer classes. Most disturbing of all, many victims now interviewed
seem to only remember the moments of misconduct through hypnosis -
proven to be a misleading and dangerous means of recalling memories.
It is an amazingly murky story, but it remains intriguing thanks to
Jarecki’s approach. He sees the sickness apparent in the Friedman
home, but he is also open to the notion that the law may be far from
infallible. Jarecki is always conscious of the real tragedy obvious
in this drama - the destruction of a family. Through interviews with
everyone in the Friedman family, save one son who did not wish to participate,
and through a surprising wealth of home videos from a technology-obsessed
family, broken hearts, emotions and memories are peppered through this
crime mystery.
If there is a flaw with this film, it is its pacing. Jarecki clearly
believes that the audience needs time to digest some of the film’s
facts, but these voids are filled with rather arbitrary stock footage
of the family’s surrounding area. And, as the story shifts from
one point of view to another, one cannot help but be removed, albeit
briefly, from the story. Rather than pausing the story dead in its
tracks, Jarecki could have used these moments as a point of contrast,
showing yet another superficial picture of this perfect family to make
the true evil running beneath the surface that much more disconcerting.
What really happened in the case of the Friedmans? I have my theory;
you will too. But one thing is undeniable: it’s a riveting mystery
worth exploring.
  
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