The Little Girl Who Lives Down the Lane
August 10th 2010 01:57
I saw this strange and spooky gem late one night on television by myself. The Sunday Horrors was the name of the show, a popular showcase in New Zealand during the 80s. It creeped me right out, yet didn't possess any dark supernatural element nor any graphic violence, not even scary music. It just got right under my skin and crept into the back of my mind where it lay in wait, occasionally reminding me of its unusual, unsettling presence.
Based on his novel and adapted for the screen by Laird Koenig, The Little Girl Who Lives Down the Lane (1976) is a rare and tenebrous nightmare. It operates with the stark and minimal efficiency of a stage play, yet never feels restricted by any of that medium’s trappings. There are only five main speaking parts, and essentially only one location, yet director Nicolas Gessner moves the camera just enough to give the viewer a sense of freedom within the confines set by the narrative. Yes, the visual style does feel a little like a television movie, but not like any television movie you’ve ever seen before or since.
Set in a small town somewhere on the coast of Maine, it tells the story of young Rynn (Jodie Foster), a precocious 13-year-old (13-going-on-30) who is living in a small two-story house leased by her poet father. The landlady, Mrs Hallet (Alexis Smith), a suspicious and bitter older woman, arrives and demands to speak with Rynn’s father, but he is indisposed and Rynn insists he won’t be disturbed for anything. Mrs. Hallet wants the crab apple preserve jars that are stored in the cellar, but Rynn won’t get them for her just yet, and tells her to leave, as this is her house, the rent is paid up for three years. Mrs. Hallet leaves incensed.
There are three other visitors, all important characters, each with their own agenda, bringing their own dynamic, delivering a different consequence. There’s Miglioriti (Mort Shuman), the local policeman. He means well, just doing the rounds, but he’s a little suspicious too. It is rather odd that a girl so young is left to look after herself, with her father either on business trips or locked away in his study for hours at a time. Rynn, inadvertently meets Mario (Scott Jacoby), several years older, who works as a party magician, and they become close. Rynn shares one of her dark secrets with Mario, and in return he helps her.
And then there’s Frank Hallet (Martin Sheen), the adult son of the landlady. He’s a dangerous man. A pervert is the name given to him in the movie, but pedophile would be the term used these days. He has designs on Rynn, and intends on getting into more than just the front door of her house. Rynn will have to use all her wits to keep this monster at bay. Will Mario or her father come to her rescue?
I didn’t realise until the end credits this movie was not a sole American production, but it made perfect sense when I discovered it was a co-production with France and Canada. There were a couple of moments that rang alarm bells. Jodie Foster appears to be nude in a scene (she was only fourteen). She refused and her older sister Connie Foster (who also doubled for Jodie in Taxi Driver) was used instead (Jodie was very distressed however that audiences would think it was her). Despite the body doubling this would probably never have happened in a straight American production, and certainly run into trouble in a production in today’s industry climate. The 70s allowed for so much more boundary-pushing, and cinema is all the more provocative and memorable for it. The scenes I’m talking about weren’t gratuitous or unnecessary, however, they were integral to the narrative, and handled tastefully, albeit confronting and disturbing, respectively.
Director Nicholas Gessner, a Hungarian, elicits stunning performances from his cast, especially Jodie Foster and Martin Sheen, Scott Jacoby and Alexis Smith (pretty much the entire cast). Foster made four indelible performances that were all released in 1976 (Taxi Driver, Bugsy Malone, Freaky Friday, and this one). Martin Sheen had done lots of television and a few feature roles, but this is one of three career stand-out performances, partly because of the extreme nature of the role, but Sheen inhabits it with such precise intent. In Badlands (1973) he was excellent, but his next feature would be the role of his entire career, Apocalypse Now (1979).
The Little Girl Who Lives Down the Lane is superlative, economy storytelling, full of character and atmosphere, great dialogue, a floating menace that bears its teeth in a few scenes, and a brilliant succinct end. The spare use of music is inspired also, some jazz-funk and selections from Chopin. 1976 was the year of Jodie Foster. She won a Saturn Award for Best Actress, and the movie won Best Horror Film, at the 1978 Academy of Science Fiction, Fantasy and Horror Films (Gessner and Koenig were also nominated). Curiously, and disappointingly, Jodie Foster rates this movie as one of her least favourite experiences.
Here’s the trailer:
Based on his novel and adapted for the screen by Laird Koenig, The Little Girl Who Lives Down the Lane (1976) is a rare and tenebrous nightmare. It operates with the stark and minimal efficiency of a stage play, yet never feels restricted by any of that medium’s trappings. There are only five main speaking parts, and essentially only one location, yet director Nicolas Gessner moves the camera just enough to give the viewer a sense of freedom within the confines set by the narrative. Yes, the visual style does feel a little like a television movie, but not like any television movie you’ve ever seen before or since.
Set in a small town somewhere on the coast of Maine, it tells the story of young Rynn (Jodie Foster), a precocious 13-year-old (13-going-on-30) who is living in a small two-story house leased by her poet father. The landlady, Mrs Hallet (Alexis Smith), a suspicious and bitter older woman, arrives and demands to speak with Rynn’s father, but he is indisposed and Rynn insists he won’t be disturbed for anything. Mrs. Hallet wants the crab apple preserve jars that are stored in the cellar, but Rynn won’t get them for her just yet, and tells her to leave, as this is her house, the rent is paid up for three years. Mrs. Hallet leaves incensed.
There are three other visitors, all important characters, each with their own agenda, bringing their own dynamic, delivering a different consequence. There’s Miglioriti (Mort Shuman), the local policeman. He means well, just doing the rounds, but he’s a little suspicious too. It is rather odd that a girl so young is left to look after herself, with her father either on business trips or locked away in his study for hours at a time. Rynn, inadvertently meets Mario (Scott Jacoby), several years older, who works as a party magician, and they become close. Rynn shares one of her dark secrets with Mario, and in return he helps her.
And then there’s Frank Hallet (Martin Sheen), the adult son of the landlady. He’s a dangerous man. A pervert is the name given to him in the movie, but pedophile would be the term used these days. He has designs on Rynn, and intends on getting into more than just the front door of her house. Rynn will have to use all her wits to keep this monster at bay. Will Mario or her father come to her rescue?
I didn’t realise until the end credits this movie was not a sole American production, but it made perfect sense when I discovered it was a co-production with France and Canada. There were a couple of moments that rang alarm bells. Jodie Foster appears to be nude in a scene (she was only fourteen). She refused and her older sister Connie Foster (who also doubled for Jodie in Taxi Driver) was used instead (Jodie was very distressed however that audiences would think it was her). Despite the body doubling this would probably never have happened in a straight American production, and certainly run into trouble in a production in today’s industry climate. The 70s allowed for so much more boundary-pushing, and cinema is all the more provocative and memorable for it. The scenes I’m talking about weren’t gratuitous or unnecessary, however, they were integral to the narrative, and handled tastefully, albeit confronting and disturbing, respectively.
Director Nicholas Gessner, a Hungarian, elicits stunning performances from his cast, especially Jodie Foster and Martin Sheen, Scott Jacoby and Alexis Smith (pretty much the entire cast). Foster made four indelible performances that were all released in 1976 (Taxi Driver, Bugsy Malone, Freaky Friday, and this one). Martin Sheen had done lots of television and a few feature roles, but this is one of three career stand-out performances, partly because of the extreme nature of the role, but Sheen inhabits it with such precise intent. In Badlands (1973) he was excellent, but his next feature would be the role of his entire career, Apocalypse Now (1979).
The Little Girl Who Lives Down the Lane is superlative, economy storytelling, full of character and atmosphere, great dialogue, a floating menace that bears its teeth in a few scenes, and a brilliant succinct end. The spare use of music is inspired also, some jazz-funk and selections from Chopin. 1976 was the year of Jodie Foster. She won a Saturn Award for Best Actress, and the movie won Best Horror Film, at the 1978 Academy of Science Fiction, Fantasy and Horror Films (Gessner and Koenig were also nominated). Curiously, and disappointingly, Jodie Foster rates this movie as one of her least favourite experiences.
Here’s the trailer:
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Comment by Tracy
Movies and Life
Comment by Bryn
Horrorphile
Comment by Tracy
Movies and Life
Comment by Bryn
Horrorphile
Comment by Tracy
Movies and Life
Comment by Bryn
Horrorphile
Comment by Anonymous
Kemi~
Comment by JohnDoe
Film & TV on DVD
I read the comments and had the ending spoiled. But still sounds like a nifty film that slipped through the cracks for me. Will certainly try to track it down. Martin Sheen as a pedophile seems interesting.
Comment by Anonymous
Comment by Bryn
Horrorphile
Comment by JohnDoe
Film & TV on DVD
Just found the film on Netflix and have put it in my queue.
This one sounds like quality though that I should have visited long before now, I really like Martin Sheen's work in the 70's.
I think you are under estimating yourself, I'm sure there are plenty of films that you have seen that i haven't heard of. That's what makes reading your posts so much fun
Comment by wreckage3001
Comment by Bryn
Horrorphile
Comment by Natalina
My Life My Muse
Beta Girl Blog
Comment by Bryn
Horrorphile
I haven't bought a Blu-ray player, and I'm loathe (and don't have the money!) to start replacing my DVD collection.
I believe within the next five-ten years (probably sooner) movies for the domestic market will be released as digital files which you'll purchase (or rent) online and then download directly to your television/hard-drive.
The idea of a movie collection being that ephemeral upsets me.