Herencia De Familia

It's a light-hearted family comedy. The chemistry between the casts is wunderful, especially that of Kirk and Diana Douglas. The husband-and-wife conversations in the film feel warm and real, thanks to Jesse Wigutow's good script. The Douglas family really pulled it off without making it a vanity.

Although I agree with other ratings on IMDB, I feel that this movie is underrated here.

(6.5/10)

Boy, "It Runs in the Family" has set off more than a few critics' hot buttons. This unusual ensemble production, with most of the main characters played by the Douglas clan, is ruled in reality and in this quirky pastiche of intergenerational and marital disharmony and reconciliation by the great paterfamilias, Kirk.

Having escaped death in an aviation disaster, Kirk Douglas was felled, but hardly destroyed, by a very serious stroke. The neurological event left his speech but not other faculties impaired. He moves pretty well for his age. Damn well! Speech therapy has only taken him so far - forget the sharp voice of the star of roaring Westerns or a Viking saga. But the acting ability, the skill in projecting emotion, the cunning character who draws the viewer into a picture - Kirk Douglas is STILL Kirk Douglas.

The story is pedestrian, soap operish, New York, Jewish culture-inflected (Kirk Douglas rediscovered his Jewish roots not that long ago, celebrated an aged man's well-publicized Bar Mitzvah and wrote a book about his renewed commitment to Judaism). His son, Michael, not exactly unknown to the screen, is his son in "It Runs in the Family" and no amount of acting need substitute for the palpably real love between the characters. Douglas pere is the elder lawyer and his son is a partner in his firm, a man yearning for public service and elective office.

A few other Douglas clan members act and Joel Douglas co-produced the film. Catherine Zeta-Jones, occupied with pregnancy or other projects or litigation in London over wedding photos, didn't make the scene but Bernadette Peters is well cast as Michael's spouse. She's a therapist dealing with the problems that often arise in a two-decade-old marriage. Rory Culkin strongly plays Eli, an eleven-year-old whose walking-on-eggs approach to teenagehood is both sensitively portrayed and genuinely affecting.

The misadventures of the clan are really events that hit many families but few are so unlucky as to endure this much tsouris. But the ending...well, see it.

Some folks seem to have a real problem viewing Kirk Douglas act WITH and THROUGH his controlled but ineradicable disability. I've heard people say he has no business making films anymore (one critic wrote that). What are these people really saying? That the sight of a powerful man whose waves of vitality are awesome but who is in the sunset of his life ought not to parade genuine incapacity on the screen? Does it scare some that his slurred speech is the only aspect of his screen persona that isn't acted? I wonder.

See the film not because it's a great story - we've seen these melodramatic episodes many times over - but for the pleasure of watching people connected in real life explore myriad challenges with passion, humor, empathy and caring.

7/10.

It isn't the least bit fair to call "It Runs in the Family" a "vanity project."

With three generations, Kirk and Michael and Cameron Douglas, and Douglas by marriage Diana all in it, the movie is certainly a FAMILY project, and despite the direction of the great Fred Schepisi, whose "Six Degrees of Separation" was a miracle of acting and editing, it somehow doesn't ever really soar. But there is nothing, but nothing, "vanity" about it except that the rich New York Jewish family, the Grombergs, whom the Douglases play, live in splendor -- but that's certainly not a stretch for the actual Douglases. It just makes their family problems a bit more posh than most people's.

What we see of this family is no cause for vanity, and our admiration is not sought, only our sympathy. This is a family of successful lawyers. But dad (Mitchell) has had a stroke, and his son (Alex), who has refused to become a partner, is torn between profit and pro bono cases, loyalty and infidelity, and has none of the brass or verve of the high powered Michael Douglas of "Wall Street." (Michael's performance isn't particularly strong here either, but the other Douglases' all are.) He and his therapist wife Rebecca (Bernadette Peters) have two kids nine years apart. Mitchell's wife is played by Michael's actual mother, the regal Diana Douglas, whom Kirk divorced in 1951 but has remained good friends with.

The kids in the family are not showing great promise. The young 12-year old son Eli is a bit odd -- or at least inarticulate. Much is made of his wordlessly presenting a spreadsheet to ask for a raise in his weekly allowance, and for his not particularly wanting to discuss sex with his parents or older brother. But this is one of the places where the humane and comprehensive screenplay fails to convince completely. Is that really so odd? -- or is Eli just a budding accountant? As Eli, the very forthright and self-possessed Rory Culkin, from another famous acting family, seems too self-contained and sure of himself to be seen as truly having problems. His main problem seems to be that he's 12.

Cameron Douglas, Michael's real life son, whose acting experience is chiefly from a TV series, is Asher, the 21-year-old "laid back" son, a loveable loser who deals some pot and misses a lot of his classes but knows how to party and is a good deejay. Asher is blowing his life for now, but the buoyant and physical Cameron is fun to watch as he throws all his passion and enthusiasm into his first significant screen role. As Asher, he's full of life and slouchy charm and it's not so far fetched that a nice girl would get interested in him, despite his loser qualities. Again here, though, the writer has not developed the subtleties suggested by the plot. The movie tries to show us too much about too many of the characters to provide any with full development.

Mitchell, Alex, and Asher all give advice to each other and to Eli, never very effectively. They're full of brash posturing toward to their next of kin but lacking in real conviction. But somehow, the movie tells us, this is a way of showing affection. It's okay that they only pretend to know the answers. The story never works out any of the problems it creates for its characters or fully develops them, but it does succeed in its purpose of being a story about family and about honest acceptance of human frailty.

Kirk as the aging patriarch, who loses his wife and then his demented brother, brings us in for some embarrassment (his scenes are the most cornball sentimental), but you can't help admiring the 86-year-old actor's enormous pluck. After his stroke he has sprung back and though he waddles feebly on his jogs around the Central Park reservoir and doesn't talk so good anymore, he certainly can still deliver his lines with a vigor one wishes Michael had mustered here. There's a kind of strength and simplicity about the aging Kirk Douglas that seems very close to real. Whether his blustery authority mixed with emotional distance is true to the man himself, it's believable in his scenes with his wife and son.

One aspect -- also arguably anti-vanity, yet both proud and truthful, is that the Douglases are playing what they really are, a successful Jewish family, and not the sanitized non-ethnic Americans that Hollywood required when Kirk was in his prime. And because the movie shows a seder and funeral and identifies the family with Jewish ritual, we do get a sense of family life as a part of cultural tradition.

Mitchell's wife Rebecca gets upset when she discovers women's undies in his pocket that came from a scene at a free food project where a fellow volunteer (Sarita Chudoury) has the hots for him (nothing subtle about this encounter). This sequence is poorly developed and it isn't clear, since Mitchell neither defends nor incriminates himself, why Rebecca gets into such a tailspin. Ms. Peters is nothing but earnest and intense. She can engender little sympathy nor convey much sense of an active intelligence.

There are way more crises than any family could handle in this short span of time: marital problems, two deaths of elders, a child who runs off during a school function, the older boy flunking out of school and arrested for drugs, his first serious love affair ruined, the patriarch facing "a few good years left" alone. And none of it's resolved. But though the shortcomings in character development may be a distinct weakness in the movie, the lack of resolution is not in itself a fault. The real fault, and what keeps this from being one of Fred Schepisi's best efforts, is that the writing isn't focused enough and turns maudlin too often. It's fine to jerk a few tears, but for a comedy "It Runs in the Family" is too soft hearted and soft headed. Maybe in the end all that really mattered was for Kirk and Michael finally to make a movie together after all these years, and the process created too many good vibes to allow for edginess or wit. But let's not call that vanity. Let's call it love.

This was a watchable but highly forgettable film. It bounces around from character to character, with material that is more like character development than a true story. I kept waiting for something to happen, some plot to develop, but it never really did. It was just like a comedic soap opera.

Not that this break from traditional style is all together bad, it's just not that good. I gave it an average 6 stars(mostly for the star power.

This is a well done movie about family life. It could be compared to The Royal Tannenbaums in genre. I personally feel it is better done, really a terrific movie. For a first time actor, Cameron Douglas did very well. Not surprising when you see how well the other actual family members do in their chosen field! It is about the normal dysfunctual family and then some. There is laughter, tears and it makes you think. I recommend it highly and feel sorry for those who just did not get the movie. It only made 8 million I heard. Pitty those who do no get to see it!