During Rory's interview, Ethel's response to this haunting streak of bad fortune is plain, almost delivered with a shrug: "Nobody gets a free ride." Indeed, present-day Ethel seems to have kept the brush-your-knees-off strength her children describe from their upbringing, if the buoyancy that once defined her character has faded. She's reluctant to talk about herself, and even more so to take credit for raising eleven children. She says something interesting about her late husband to Rory, that "nothing came naturally to Daddy, he had to struggle for everything." Though Ethel, like her brother-in-law John, was more at ease with the relentless social aspects of politics, in her daughter's film she's confronted with the thing that doesn't come naturally to her: accepting solo recognition.
"Ethel" is, essentially, a tribute. While watching it, I found myself thinking of another, better documentary, Sarah Polley's "Stories We Tell." Polley, also the youngest child of a sizeable brood, similarly interviews her array of siblings and parents, but as a means of probing her family, willfully finding the bad along with the good, the secrets and lies along with the admiration and love. This isn't in Rory Kennedy's sights, as she opts instead for a pointedly rose-colored view of her mother and father. I wanted something meatier, not in the scandal-ridden or morbid-curiosity sense, but in terms of a complex portrait of a woman inside a complex family -- perhaps the most complex of 20th-century American history. Yet some people have greatness and pain steeped so sharply and publically in their lineage, that a hug feels better, and in certain cases more appropriate, than yet another magnifying glass. It isn't hurting anybody.
"Ethel" debuts October 18 at 9pm on HBO. The film screened at the 2012 Sundance Film Festival, and went on to play at the San Francisco International Film Festival and the Hamptons International Film Festival. Read more about Ethel and Rory Kennedy in our coverage of the TCA.