But charming is the first one that comes to mind.

It would be unfair to limit the film to one adjective.

Title cards detail the family stealing the trophy from the room, running down the hall, running out of the hotel, running into the van, and driving off.

Alternate Ending #4 is the same as #3, but it's extended.

She signals that the coast is clear, and so the others run out of the hotel carrying the trophy (while Frank wears the crown).

Alternate Ending #3 had Olive running out into the lobby of the hotel, acting as a lookout, as you can hear everyone else arguing off-screen about stealing the trophy.

As they exit the hotel, Richard asks 'who wants ice cream?' Sheryl places a crown on Richard's head, who in turn places it on Olive's head. He releases the family members, and they start to walk out of the lobby. The security guard tells them that Olive is disqualified from the competition and that they are released, under the condition that they are banned from entering beauty pageants in California again.

Alternate Ending #2 had the family handcuffed at the security office at the hotel.

Basically, the filmmakers thought that it was too sappy (since it was too sunny during the scene) and so they stopped filming. You actually can't hear the dialogue, since the only audio option is for the director's commentary on this ending.

Richard talks fondly about Grandpa, and then the family toasts to his memory.

Alternate Ending # 1 had the family stop at a rest stop the next day as they're driving back home.

This reissue of Immediate Family has been printed using new scans and separations from Mann’s original prints, which were taken with an 8 x 10-inch view camera, rendering them with a freshness and sumptuousness true to the original edition.

This is the stuff of which Greek dramas are made: impatience, terror, self-discovery, self-doubt, pain, vulnerability, role-playing and a sense of immortality, all of which converge in these astonishing photographs. With sublime dignity, acute wit and feral grace, Sally Mann’s pictures explore the eternal struggle between the child’s simultaneous dependence and quest for autonomy-the holding on and the breaking away. Taken against the Arcadian backdrop of her woodland summer home in Virginia, Sally Mann’s extraordinary, intimate photographs of her children reveal truths that embody the individuality of her own family yet ultimately take on a universal quality. First published in 1992, Immediate Family has been lauded by critics as one of the great photography books of our time, and among the most influential.

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