Movies

When a Pasadena rest home became a movie set, the residents got creative

BBG News

Director Sarah Friedland decided to establish her first major work, “Familiar Touch,” in Los Angeles. This choice was partly influenced by personal ties – both of her grandmothers resided in the city – but also by thematic considerations. The film revolves around an elderly woman named Ruth (Kathleen Chalfant), struggling with memory loss, and the city’s atmosphere seemed to echo this narrative theme.

In my conversation at the film’s promotional office on a dreary New York day, the 33-year-old Friedland expressed to me that I should not convey a feeling of time progression that Ruth doesn’t experience. Therefore, it was essential for the setting to be one where it would be impossible to discern any seasonal variations.

However, Friedland, originally from LA but raised in Santa Barbara, harbored an additional ambition. She aspired to film within a genuine retirement community, allowing the residents to take part in the project’s creation.

In an exceptional partnership with staff and residents, Friedland produced “Familiar Touch” (opening this Friday) at Pasadena’s Villa Gardens. Prior to a 15-day shoot, she organized a five-week workshop on filmmaking for the seniors of Villa Gardens, who subsequently appeared as background actors and assisted in production. This project served as a demonstration of Friedland’s commitment to her words.

According to Friedland, a significant portion of the project stemmed from anti-ageist concepts. To portray the central character as an older woman who is valued for her worth, talent, and richness, he suggests involving older adults fully in every aspect of filmmaking, leveraging their vast experience and creativity.

As a movie enthusiast, I recently watched “Friedland’s Film,” a heartwarming tale penned by the talented choreographer herself, who drew inspiration from her personal journey as a caretaker for artists battling dementia. In this film, we follow Ruth, a character whose spirit refuses to be dampened by the unfamiliar surroundings of a senior living home, even when faced with her unrecognizable son (portrayed by H. Jon Benjamin).

Despite being disoriented by her new environment, Ruth finds solace in the one place she feels at home – the kitchen. This is where she has spent countless years honing her culinary skills. The film beautifully captures her resilience and zest for life, even amidst challenging circumstances.

To discover the ideal setting for her narrative, Friedland began investigating as if she were an adult child searching for a new home for elderly parents. She learned about Villa Gardens from the sibling of her grandmother’s caregiver, and it perfectly fit her needs: a location that offered suitable amenities to accommodate her cast, aligning with the story she aimed to tell. In her thoughts, she envisioned the community in her fictional tale as an exclusive one, where Ruth – who hailed from a working-class Yiddish family – would initially feel uncomfortable due to its privileged nature.

The history of Villa Gardens was equally captivating. Established in 1933, it was the brainchild of Ethel Percy Andrus, a trailblazing figure who not only founded the AARP but also served as California’s first female high school principal.

According to Friedland, the community is particularly attractive to many retired teachers and social workers, which fosters an ongoing educational environment.

Prior to settling into Villa Gardens, she needed to win over the executive director, Shaun Rushforth, who initially declined her request four times before agreeing. Having previous experience at Kingsley Manor in East Hollywood, another senior living community popular for its attractive brick exterior, he was hesitant about allowing filming on the premises.

According to Rushforth, it’s been the smaller, self-produced movies that have given me the most difficult times. He was uncertain about the reception this would get from the locals.

she had to win over the residents. Lisa Tanahashi, a 68-year-old resident who later joined the “Familiar Touch” art department, was pleased that I gave Friedland a tough time.

She expresses a sense of regret that Shaun constantly needs to decline her, saying this during their joint Zoom call from Villa Gardens with Rushforth. However, from her point of view, it’s precisely his refusals that align with what the residents hope for in this situation.

As a resident associate, I found myself instantly captivated by Friedland and her compelling story she wished to share, with me being the then-elected president at that time.

In a video chat from Villa Gardens, she expressed the need for additional details on senior living options. Specifically, she’s seeking insights into conditions such as dementia or Alzheimer’s, or any related terms. She wants this information to be presented in a positive light, acknowledging that we all are aging.

As a devoted admirer of Tanahashi’s work, I found myself enrolling in Friedland’s bi-weekly workshops, just like he did. In these sessions, I’ve had the privilege of learning about cinematography and production design from the very masters behind the “Familiar Touch” department, who have been incredibly patient in their guidance.

Owen remarks, “We aren’t quick learners,” he explains. “It’s not intentional, but growing older seems to slow us down a bit. Yet, they all managed to make us feel at ease.

After wrapping up the workshops, it was time for us, the participants, to choose our preferred departments to be part of during the actual movie production. I, as one of the resident reviewers, took on the role of casting background actors for various scenes. To my relief, there was minimal resistance from my fellow residents, with only two expressing minor concerns.

She notes that one person stated they had more important tasks to attend to instead of spending four hours seated at a table with unappetizing food. The other individual expressed dissatisfaction as their scenario, set in a dining context, repeatedly served the same cold dishes.

(Friedland confirms this gripe: “The scrambled eggs being cold was the main point of complaint.”)

At Villa Gardens, Friedland collaborated with Rushforth and other team members to ensure that filming activities harmonized with the regular routines of life within the villa. For nearly two decades, caregiver Magali Galvez, a staff member at Villa Gardens, interacted with “Familiar Touch” actress Carolyn Michelle, portraying the character who assists Ruth, addressing her queries.

Even though Ruth was meant to reside in a memory care facility, the team behind the production decided not to involve individuals with similar conditions due to Friedland’s belief that they might not have the ability to consent to be filmed. In the end, nearly 30 employees from Villa Gardens contributed to “Familiar Touch,” along with around 80 residents.

In the movie, the lead actress, Chalfant (who was 78 during filming and is now 80), regarded the residents of Villa Gardens as contemporaries of hers.

She remarks, “Despite our ages, we’re all considered ‘older folks.’ Interestingly, the eldest among us was only in their mid-30s, creating a unique dynamic that combined the wisdom of the older generation and the energy of the younger. Remarkably, there wasn’t any established hierarchy.

A challenge Friedland encountered while directing untrained actors was their frequent fascination with Chalfant’s acting performance.

Kathy has a captivating stage presence that left some residents initially playing secondary roles. However, once she began speaking, they were spellbound and couldn’t look away,” asserts Friedland.

One instance had Chalfant seemingly swimming solo in the pool, which attracted numerous neighbors peering through windows. Simultaneously, the usual hub for directors to review playback footage (often referred to as the video village) was consistently bustling with people. As Friedland puts it, “The video village was a bustling community.

Furthermore, the collaboration ensured that the filmmakers maintained authenticity. Incorporating insights from Villa Gardens residents, Friedland aimed to infuse humor into the movie, reflecting what she witnessed. A scene showcasing Ruth noticing a woman accessorizing her hair with a potato chip clip encapsulates this ambiance.

She remembers the residents responding when she presented the film concept: “This movie can’t be overly somber,” they said. “Life is full of humor, and that should be reflected in this production. We want to share a laugh with them, not at their expense. It should be absurd and eerie, but also relatable.

For residents of Villa Gardens, witnessing the final product has brought a mix of joy and sadness. They’re proud to see themselves featured on-screen, yet they cannot help but acknowledge that some of their fellow cast members who once shared this journey are no longer with us.

Owen finds it marvelous to see them back to reality,” he comments, adding that he thought the depiction of early dementia was very authentic.

At the AFI Fest premiere held at the TCL Chinese Theatre, numerous individuals experienced the film for the first time. According to Friedland, this screening caused her more anxiety than the movie’s initial release at last year’s Venice Film Festival, where it earned the esteemed Lion of the Future award, as well as accolades for both direction and acting.

Friedland expresses, “Everyone here has worked incredibly hard, and I wanted to make them feel proud. But the experience was just so filled with joy.

A day following the Chinese Theatre premiere, Friedland shared the movie with those who missed it in Hollywood, at Villa Gardens. Additionally, she brought along the lion statues they won in Venice and persuaded the festival to deliver an additional award certificate for the community. This memorabilia will be housed in the Villa Gardens library, ensuring a lasting bond between the location and its cinematic legacy.

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2025-06-25 13:31

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