Little Lady Fauntleroy (2004), directed by Roger Pomphrey, is an unsettling documentary that takes viewers into the world of James Harries, a former child prodigy who transitioned into a woman named Lauren Charlotte Harries. The documentary, however, is not just about Lauren's journey of transformation but also provides an intimate portrait of her unusual family and their bizarre beliefs, raising complex questions about identity, self-perception, and the line between eccentricity and delusion.
Keith Allen, the documentary's host, spends time with the Harries family, who appear at first glance to be a collection of intellectuals, each holding a PhD in Metaphysics. As the film progresses, it becomes apparent that many of these academic credentials are questionable. Some members of the family obtained their degrees from dubious sources, such as a fake university in the United States, while others issued their own qualifications. Despite this, the family seems to live by their self-created mythology, asserting their superiority over the rest of society. The documentary takes an eerie turn when it reveals the contradictions in the family's lifestyle and beliefs. Housed in a mock-Tudor cottage on a Cardiff council estate, the family includes a convicted arsonist, an astral projectionist, a former Bunny Girl, a part-time private detective, and Lauren herself, a woman who has undergone gender reassignment. They exist in what seems to be a parallel universe, disconnected from the realities most of us live in.
The tone of the documentary, however, is controversial. Allen's approach is often seen as patronizing and condescending, and his handling of the interview subjects leaves much to be desired. At times, he appears to be bullying the family members, and his frustrations with them are palpable. He seems more interested in highlighting their eccentricities and conflicts than in genuinely exploring their lives. This makes Little Lady Fauntleroy feel less like a thoughtful documentary and more like a sensationalist exploitation of a family that may already be marginalized by society.
The overall bias and negativity of the documentary are especially troubling, as it never allows the family to express their side without judgment. What makes Little Lady Fauntleroy fascinating, however, is its portrayal of Lauren Charlotte Harries, who was once a child prodigy known for her exceptional knowledge of antiques. As a young boy, James Harries appeared on television shows like Wogan and After Dark, where he showcased his ability to appraise antiques. His self-possession and articulate speech intrigued audiences. But by the time of the documentary, James had transitioned into Lauren and was living with her peculiar family.
Lauren’s transition from male to female, which took place in 2001, is another central aspect of the film. The documentary reveals that her sex change was supported by her family and arranged with the help of publicist Max Clifford. However, it also uncovers strange and troubling details, such as the fact that the counselor who guided Lauren through her transition, Lesley Stewart, turned out to be her own mother, Kaye Harries, operating under a business name. This revelation further deepens the sense of unreality that permeates the family’s existence. The film’s focus on the family’s various qualifications and self-appointed roles is telling.
The documentary highlights that the family’s qualifications in metaphysics and counseling were awarded by their own Cardiff-based institution, the Cardiff College of Humanistic Studies, which was nothing more than their home. This creates a stark contrast between how they view themselves and the reality that outsiders perceive. Despite these peculiarities, one cannot help but feel a certain sympathy for the family. They are clearly living in a world of their own creation, where their beliefs and actions are not questioned. In many ways, Little Lady Fauntleroy seems like a study of a family caught in a delusion, refusing to acknowledge their disconnection from the world around them. Rather than seeing them as figures of ridicule, the documentary leaves viewers questioning how such a family came to exist in the first place, and what forces have shaped their view of reality.
Keith Allen’s documentary is provocative, but it is also deeply problematic. His condescending tone and apparent contempt for the family are hard to ignore. His position as an outsider, coming in cold to judge and analyze, creates a clear divide between the family and the audience. His treatment of the subjects is especially troubling in today’s media landscape, where documentaries are often expected to show empathy and understanding, not just exploit the quirks of eccentric people for entertainment. Although the documentary is undoubtedly fascinating in its exploration of a family living in a bubble of self-delusion, its tone and bias may have made it less palatable in recent years. In a time when documentaries strive to create empathy and give voice to marginalized people, the approach taken by Allen would likely be seen as inappropriate and outdated if released today. The film, in its sensationalism, fails to respect the family’s humanity and instead focuses on their oddities.
Ultimately, the documentary shines a light on the curious life of Lauren Charlotte Harries and her family, but it does so through a lens that seems to mock and belittle rather than understand. While the family’s strange beliefs and self-created reality are undeniably fascinating, one can’t help but feel sorry for them - caught in a world that exists just a bit too far from the one most of us inhabit. Little Lady Fauntleroy may have been groundbreaking in its exploration of eccentricity, but it is not without its flaws. It serves as a reminder that when creating documentaries about real people, empathy and respect should be at the forefront of the narrative.
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