Retratando a la familia Friedman

Outstanding documentary, which demonstrates how quickly life can fall apart for anyone. The center of attention, of course, is Arnold Friedman, a pedophile whose personal issues create a firestorm that destroys his own life, but more tragically, the lives of his children. There are so many facets to this documentary that it amazes me that they could all be captured in the film's running time. Several important issues are highlighted; front and center is the hysteria surrounding pedophilia that emerged in the late eighties. Amidst the background of the McMartin and "Little Rascals" trials and the culture of quack psychology (repressed memories, hypnotic suggestion) emerged the case of Arnold Friedman.

The most interesting aspect of this case was that Friedman was a pedophile - there is no doubt about that. The question is whether he was guilty of the crimes charged, more than 300 charges of child abuse. Furthermore, could his son and assistant, Jesse, also be guilty? The filmmaker does not force out any answers to that question, but the testimonies of his accusers and the incompetent buffoonery of the police involved in the case lead one to conclude that the answer is a resounding "No."

The crimes are only part of the story. The true story lies in the destruction of the Friedman family. Arnold, the eccentric intellectual and apparently loving father turns out to be feeble and a pedohpile, a man crippled by guilt. Elaine, the "loving wife and mother" who is frozen out by her family turns out to be a weaker human being than her husband, bowing under pressure to administer horrifying "advice" to her youngest son. The brothers, lead by the eldest, fight a losing battle to save their family. One of the most tragic and moving pictures I have seen in ages.

You really have to be open-minded watching this, because it deals with subject matter that's so easy for us to condemn without the will to examine. We have a man, Arnold, who is accused of child molestation after porn magazines are found in his possession. We have his son, Jesse, who is accused of being his accessory in the molestations. Jesse says that he was abused by his father at a young age and that he enjoyed the attention. Then Jesse says his lawyer made that up. A man slouched on a couch, inarticulate and seemingly placing himself in a sexual position while being interviewed for the film, gives testimony against the Friedmans that led to 35 criminal counts. Jesse claims he is innocent. Someone is lying.

This is rich, complex stuff, and the filmmaker doesn't put his own views into the film. He doesn't question the interviewees outright -- although he does "catch" one guy, and contrast different remembrances, some of which indict the Friedmans, others that wave away all accusations. The story gets told to us largely through Arnold's home videos, and so we're witness to the family's self-destruction. This is Shakespeare, and there's a shattering moment when Arnold's wife, Elaine, asks, "Where did this come from?"

The film is craftily put-together -- there's a shock left until the end, the kind of thing that calls into question what we've just seen -- and the filmmaker looks at the situation as a family drama, with the backdrop of the trial, where understandably furious parents try and attack Arnold ("You raped my son!"). But the film also has this sense of sleaze -- or, at least, the sense of something iffy: the sex is inherently "dirty" -- Arnold bought gay-related magazines, and the film has mentions of incest. There's a kind of public hysteria that exists, where people throw their hands up into the air when anything deviating from the sexual norm is mentioned, and refuse to even listen to an argument that suggests there might not actually be anything wrong. But I think it's important to stand back and analyze the situation before we make our decision about Arnold. He does, in fact, eventually admit to abusing one child, a son of a friend, so he is a molester; whether or not he abused the children that he taught and that is the subject of the documentary is another matter; my own feeling is that the evidence is pretty sketchy, and that he was made an example out of for possessing magazines. (And he does openly admit to having experimented sexually with his brother -- whose admission at the end of the film is revelatory -- and his lawyer says that Arnold expressed arousal at one young boy bouncing on his father's lap when the lawyer visited Arnold in jail.) It's my belief that there's nothing wrong with Arnold's pedophiliac desire and owning of child pornography. (Although obviously the purchasing of pornography fuels the industry which in turn exploits and abuses more children, but I'm talking specifically about his mental state.) If he didn't act on his desires, then he does not deserve to have his life and his family's life torn to shreds.

As the film goes on, it becomes clear that Arnold, this somewhat meek, nebbish figure, probably isn't the monster he's made out to be. One student made claims against him, we learn, to "get them off my back," meaning the investigators. That claim led to 16 criminal counts. Some of the charges against Arnold sound horrific, but are pretty unbelievable, like the idea he lined the children up naked in a leap frog position, and then proceeded to penetrate them one by one. (The simple mechanics of male-male intercourse don't make it that easy.) The police claimed that Arnold had stacks upon stacks of child (or, really, adolescent teen) pornography; yet his wife never managed to see them, and the photos of the house taken during the investigation show nothing. These are the reasons that prove Arnold's innocence, not the comments made, like the one by Jesse's friend, who says that he couldn't be a violent molester because he was so quiet in everyday life. (We all know how wrong-headed that idea is.) This is a terrific documentary; the investigation and the children's memories all swirling together, but what makes it so crushing is how it affects the family. The looks and the words and the shadows of doubt they cast on one another is far worse than any jail sentence. 9/10

The common trend amongst modern documentary-makers seems to be to step back from the subject matter and let it speak for itself – no voiceovers or preaching – simply fly-on-the-wall stuff. Perhaps the perception is that investigative journalism is too intrusive a medium for the movies and better served on hard-hitting TV shows. But a story such as the Friedmans' needs some further digging despite the impressive raw materials. We have interviews with the major protagonists and oodles of camcorder footage but no incisive questioning or comment from the filmmakers and as compelling and interesting as this film is, the ultimate feeling is one of frustration.

The story of the Friedmans is murky and disturbing and needs poking around with a big stick before the truth can begin to emerge. The family is superficially ordinary: Jewish, middle-class and pillar-of-the-community. Patriarch Arnold is a well- respected and award-winning teacher; wife Elaine is typically supportive and subordinate and their three boys have a touching and incredibly close bond neatly recorded for posterity in hours of home-video footage. But all is not well in sunny suburbia. The police intercept a package intended for Arnold that contains a magazine of child pornography and dirty secrets and wild accusations are soon sullying the family name.

Former pupils come out of the woodwork and accuse Friedman of abusing them in the computer classes he ran out of his own home. His youngest son Jesse is also implicated. In all, over 200 separate charges of rape and child molestation are brought against the two despite no complaints being made by pupils at the time of the alleged assaults and not a shred of physical evidence. An intriguing tale, undoubtedly, but what makes this film unique among all the other tepid yarns about serious crime is that the Friedmans kept the camera rolling.

After Arnold and Jesse are bailed, the family closes ranks and plots their defence. It is fascinating stuff. Arnold retreats into a mumbling, guilt-ridden shell while the rest of the family is split asunder by Elaine's scepticism and despair and the boys' fierce defence of their father. Eldest son David is the most bitter. He is incredulous that such absurd charges have been brought against his father and brother and is determined to clear their names. His video diaries and monologues are insightful as are the family arguments he faithfully films. He emerges as the least stable of the lot of them: A confused, angry, indignant voice petulantly and blindly mitigating his father's flaws; devastated and helpless as his cherished family idyll crashes down around him.

I will not detail events of the trial suffice it to say that the outcome asks more questions than this film can answer. Arnold's history of sexually abusing his own children is hinted at but never fully broached despite long and otherwise candid interviews with both David and Jesse and Arnold's younger brother. All are steadfast and confident in Arnold and Jesse's innocence.

It is difficult to say whether the film sides with the Friedmans or not. Certainly it does not hold back in detailing the hideous crimes that are alleged: Prosecutors, frustrated defence lawyers and victims are all wheeled out but are not truly convincing in their condemnation of Arnold. He actually emerges as a meek, dignified martyr who, at his death, leaves a string of embittered, broken people still adamant that the whole affair was one hideous misunderstanding. This is not your standard paedophile. The true extent of his crimes may never be known and the footage of his loving family make the allegations against him all the more unpalatable and grisly.

As an interesting footnote, eldest Friedman son David (the wrathful, resentful brother) is also the premier children's entertainer in New York. While there is no suggestion he has any history of sexual crime himself, one would have thought his family name may be something of a hindrance in his line of work. But he is still clowning away merrily and the mud doesn't seem to have stuck – America is a strange place.

7/10

The most riveting aspect of this documentary was the inclusion of home movie footage taken during the family's most profoundly personal private moments in real time. How could the Friedmans allow its most painful moments to be recorded? And what kind of child would record such events? That's how I realized how deeply dysfunctional the whole family is. This family is guilty, and it's not of pedophilia, but of an extreme form of alienation from one's own humanity. And the worst part of it is they are not even aware of it. In a way, I found the family's obsession with home movies frightening. It made them vulgar and I felt cheap and dirty, as if I were a peeping Tom. What a frightening film. And how seductive Mr. Jarecki is for capturing my attention.

I do not dispute the director's craft. This film is enthralling and engaging, and he keeps it interesting albeit frustrating to the end.

What I do dispute is the director's lack of opinion and apparent siding with this family.

If Arnold and Jesse didn't do anything inappropriate, I can imagine they would be flabbergasted with such charges and be wondering to themselves the entire film "where is this coming from? I'm absolutely perplexed". But they're not. The entire film Jesse and David are constantly WHINING and incredibly defensive, constantly saying "nothing happened." When, things DID happen.

• the police found stacks of child porn in Arnold's office. Fact
• Arnold admitted to abusing Jesse. Fact.

• Jesse admitted to his lawyer (who's more credible than he is) that his father abused him and he abused (and was willing to admit to abusing) computer students. Fact.

• there was a computer game with naked men and women used by Arnold to test the boys willingness to engage.

Arnold, David, and Jesse make themselves out to be these spoiled, whining, brats throughout the film. There's no remorse for anything. There's no empathy for any of the victims, including themselves. There's nothing but absolute denial when the evidence is clear as day.

To me, the BIGGEST VICTIM OF THEIR CRIMES IS THEIR MOTHER. The abuse I saw her endure during this film is absolutely atrocious. I'm glad she found someone decent to live out the rest of her days, because her sons and husband treated her like GARBAGE. It was infuriating the watch. They deserved what they got simply for their treatment of her. It was despicable.

What is perplexing is the wide range of testimony from the computer students, with some saying they were molested several times and some saying they never saw or heard a thing. One picture shows the students having fun in the class. This is the biggest question I have - why do some remember and some don't? I do think it's possible the police may have interrogated inappropriately, even to the point of using hypnosis and planting false memories. If this was true, it would be a massive injustice and proof the police were part of the hysteria.

But to me I have biggest issue with Jarecki and how silent he is on the direction of the film. This is a subject that should infuriate you but he treats it so lightly, allowing footage of the sons berating their mother for having any emotion and making us listen to the sons WHINE CONSTANTLY without offering any evidence of Jesse or their father's innocence. All they did was deny. Everyone deserves a fair shake but to me this entire family was in complete denial and clearly couldn't deal with this situation. I don't blame them, honestly. So why doesn't Jarecki call them out?