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Netflix has established a reputation for its true crime documentaries, which include popular titles such as “Abducted in Plain Sight,” “Making a Murderer,” “The Keepers,” and “Tiger King,” among many others. With its wild twists and turns, the genre lends itself well to the streaming giant’s preferred “win the internet news cycle” of memes and gifs. When they’re good, documentaries are often easy to digest and quickly rewatchable. When they’re bad, however, they rely too heavily on salaciousness and cheap narrative tricks for trending topics.
“Our Father,” a frustrating, tawdry documentary directed by Lucie Jourdan, rips a headline for trashy dramatic beats of an Indianapolis fertility doctor who inseminated an untold number of women with his sperm. Donald Cline, the doctor in question, did not seek the women’s permission. They went on with their lives, convinced that their child’s father was an unidentified medical student or their respective husband. Decades later, the now-grown children discover not only unknown half-siblings but also that Cline is their father, thanks to the DNA test. Also, you must try to play this Our Father Movie Quiz.
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Much of the story is told through Jacoba Ballard’s eyes. In a family of brunettes, she always wondered about her origins because of her blonde hair and blue eyes. She discovered seven other half-siblings using 23andMe and began connecting the dots, eventually spearheading the search for other siblings.
Deeper, darker secrets are revealed as well, such as how the doctor would sneak away to his office to masturbate while his female patient sat desperate and vulnerable—both emotionally and physically—in an adjoining room. The story has an inherent grotesqueness that is designed to make the stomach turn. But Jourdan employs tired tactics, frequently undermining and, worse, trivializing these crimes. Throughout the film, a running tally keeps track of how many children Ballard discovers. It’s a helpful hint for the viewer. The unnecessary part, on the other hand, comes from the sound of a man moaning as the number increases. Surely, in a Blumhouse production, the sound effect stems from a horror conceit. But it’s offensive in a documentary about a man masturbating.
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Jourdan struggles to allow these men and women’s tragic stories to breathe. A jagged and eerie score adds an unnecessary, overpowering mood and tone to their story. Scenes of Ballard, dressed in a red hoodie and hunched over her computer, surrounded by a web of papers and photos, are more comical than serious. And the obvious reenactments of an actor playing Cline in scenes with the real-life Ballard are, at best, strained; at worst, amateurish. Jourdan is determined to reduce this crime to a cheesy TruTV documentary at all costs.
The main question gnawing at the victims for much of the film is “why?”—what would drive Cline to inseminate these women? One victim’s conspiracy theory points toward cultish origins. While religion is important to Cline, Jourdan isn’t interested in deciphering how Cline used his spirituality to absolve himself. She also does not go into detail about the inadequacy of rape laws. In fact, the best scene in the film occurs when the state’s prosecutor and a law scholar explain why the doctor could not be charged. Partly because, while an Indiana law provision could result in charges, the inherent bias jurors have against women in cases that are not considered “clear” instances of rape would make any prosecution untenable. Rather than delving into those nuances, Jourdan promotes quack theories that add little to the story. The entire picture slows to a halt under the weight of these tangents, making one wish the proceedings were dominated by a clearer thesis.
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