The Family (2013)

In Luc Bresson’s new movie The Family, the titular group is made up of a father, mother, son and daughter. They are in the witness protection program, seeing as how they used to be pretty high up in the mob and snitched on a boss even higher up. This is why they have moved to Normandy, and things don’t start off too great for them. On their first day after the relocation, the boy is beaten, the girl falls for a professor who is far more interested in algebra than girls, the mom blows up a small grocery store when the owners insult her in French and the dad beats the plumber almost to death when he can’t immediately fix the fact that all the water’s coming out brown. Such are the daily problems of four people who must constantly pretend to be a normal family to cover up their criminal roots.

At one point, the son comments on how remarkable it is that his father can use one word to express a wide range of emotions, depending on the context. The father is played by Robert DeNiro, the word in question begins with an f, and the way DeNiro says it, it really does take on a wide range of emotions. It had never before occurred to me that any old actor can swear with finesse or for impact, but so few can do it and make it really mean something. I think DeNiro is one of those actors who can brighten up even the most rotten movie, and he’s been in a few of them. Not that I wish him any ill, The Family would be a suitable swan song for him, seeing as how he has become the personification of the modern movie gangster. It is no wonder that this movie makes reference to Martin Scorsese’s similar masterpiece Goodfellas, which featured DeNiro, and it is also no wonder that such a comparison is unjust.

This movie is a bit like Goodfellas Lite. It’s set in the same sort of world, but replaces all punches that movie had with kisses. Yes, the family commits some very violent acts (The MPAA calls it “pervasive violence.”) and, yes, there is a big final shoot-out, but it’s all done so pleasantly. Goodfellas and The Family are equally graphic in terms of visual violence, but the reason the former makes people cringe and the latter can be so easily shrugged off stretches deeper than mere images. It’s all in how the images are used. It’s all in the context.

Although I still think it made its subject matter too light and fluffy for its own good, it would be unfair to judge The Family only in the light of it not being a masterpiece. As far as weekly entertainment goes, this is solid stuff. I went in not knowing how much enjoyment I would get out of yet another action comedy and came out having had a great, fully involved time at the movies. Bresson directs with a cool, very satisfying flair (Although, I could have done without the intermittent violent fantasies, which are sort of clichéd at this point.) and with perfect pace and tone. It’s amazing how these characters are no more than sitcom conventions at the start of the picture and somehow turn into real human beings by the finish. This is largely due to the performances, led by Robert DeNiro, Michelle Pfieffer and Tommy lee Jones; all thoroughly enjoyable to watch, all perfectly typecast.

Could The Family have been better than it ended up being? Without question, yes. We are given a good film that lacks that real magic that makes us remember the great ones. But again, there’s nothing all that wrong with it, besides the simple fact that it isn’t what it isn’t. Though I question the potential of longevity, I see no reason not to recommend it.

7/10