The Boy with Green Hair (1948)

The year a film was released has never been a determining factor in my viewing decisions. That’s why when I stumbled upon the 1948 American film with the intriguing title The Boy with Green Hair my interest was instantly piqued.

The premise of the story focuses on Peter, a young orphaned boy (played by Dean Stockwell who went on to star in more than 90 films after this one) whose hair inexplicably turns green overnight. Since that moment, Peter struggles to gain acceptance, learning in the process that he needs to first accept himself.

There is a common belief (though I don’t subscribe to it) that one should not use equal criteria when reviewing new releases versus ones from the past. Yet the audience can’t go back in time and see the film through the eyes of the people who originally viewed it, which is why I like to take the approach of reviewing a movie as if the readers of the review are people who have just seen the film or are about to.

Dean Stockwell as Peter in The Boy with Green Hair

The Boy with Green Hair did not provide much in terms of suspense and, I have to admit, I looked at my watch twice while viewing it (never a good sign while watching a film) to see how much time remained. But the message of the story and several great scenes (an uplifting one with boys singing in a car and a sad one at the barber shop among them), made it an OK movie.

With the central young character facing conformity expectations of the people around him, the film’s narrative could be classified as one belonging to the Coming-of-Age genre. The scenes featuring singing and music give away the age of the film (nowadays no one would include much singing in a feature film for fear of appearing cheesy) yet, even so, they emit warmth and joyfulness.

The film also features one of the most touching inter-generational relationships I have seen in cinema — between Peter and Gramps (an older gentlemen who takes the young orphan under his care) — so much so that The Boy with Green Hair could be shown to people for the wonderful portrayal of how boys (and girls for that matter) ought to be treated if one is to earn their trust and affection.

The events in a film, if seen metaphorically, have significant relevance to the present (just substitute the hair color with skin color, body shape, or sexuality).

The Boy with Green Hair Official Trailer

http://www.imdb.com/title/tt0040185/combined

Georgi Dolgolenko (Gregory): Moscow’s Magic Voice

It’s that marvelous moment when you discover a new voice and it blows you away that keeps inspiring me to write about young talent.

Georgi Dolgolenko (Георгий Долголенко), or Gregory, is a boy from Moscow who has already sung to a worldwide audience at the Sochi Winter Olympics. He’s a lanky, picturesque, wholesome looking boy with a chilled but concentrated style. He laughs when things get silly. He sings a variety of styles well, mostly recent Pop or R+B tunes, in English and Russian.

I found him while searching for another Russian singer (I don’t read Russian without the translator) and held my breath! It was his cover of Sia – Chandelier (1.4 million clicks at the time of writing) at the Russian Voice Kids competition, which I’d never heard.

Георгий Долголенко. "Chandelier" - Слепые прослушивания - Голос Дети - Сезон 2

04:38

Russian Edition - Chandelier Sia Cover

03:30

There is a distinct drama to this. The song itself is a build up to a kind of carefree madness induced by alcohol. The tune repeats a difficult high chorus sequence twice; the verses run quickly in between. At the beginning, we don’t see Georgi stressed. He sets off confidently singing in good English. After his first crystal clear falsetto part, the judge in the middle, Pelageya, turns and accompanies him with gestures and lip sync.

She’s the only judge who turns. I suppose, if I were extremely critical, I could say some “power” is missing in his voice in places. But these high peaks of Georgi’s voice at the top of his lungs are astonishing, as though his very being is crying out to the audience.

As he goes on, however, we suddenly notice that he’s struggling, almost as though he was nervous. His breathing is off by the second verse! The chorus falsetto again rings out brilliantly, the audience cheers, but now we notice he is tiring. He’s like a football player who’s covered the distance and run out of steam! But he can’t stop! He can’t click PAUSE! The song drives on relentlessly! He must sing because there’s no substitute!

And then it happens. Briefly, but noticeably, his voice goes hoarse. Luckily he recovers immediately to hail out the final chorus with even higher notes. Its only at the end we see how stressful and draining this performance was! Sighs of relief as he holds his throat, which has survived the “torture test” of Sia – Chandelier.

The studio version and pro video of Chandelier shows Georgi with some Russian country pals and a white goat. The goat provides some comic relief as Georgi wanders into the city. This gives us insight into the artist’s character rather than focusing on the theme of the song. (You could hardly show him on a drunken high, swinging from traffic lights, after all).

Amusing, but semi-serious, the video is more a moving portrait of the singer. The studio audio is more controlled, less all-out than the live! But it’s precise, as his voice truly soars from a crystal chandelier. The video toggles between dancing exuberance and pensive contemplation. It presents some stunning natural cameos of Gregory.

As an audience, we rarely witness the failure of a singer; especially since most things are recorded. But it does happen and that’s what adds suspense to a “live”.

http://youtu.be/p_Tt3hOr86k

Georgi Dolgolenko is fairly unknown in the “West”, but that is changing rapidly with well-produced videos like My Recovery, recorded in black and white. It’s double-tracked in places, giving this song about social paranoia and healing a haunting quality. Interesting that Dolgolenko’s managers have chosen these more plaintiff, mature songs as opposed to the awful Kinder Klimbim that often appears.

Dolgolenko also has a unique, stylish stage presence, often wearing a suave round black hat, as several live amateur videos reveal. His performances in front of a camera show how intensely he can bring across the mood of a song as, for example, his Wrecking Ball cover.

Like Ranel Bogdanov (whom we featured a week ago), after his particpation in Russian Voice Kids, Gregory was signed by the Ecole Productions label .

There are many other good videos proving that Georgi Dolgolenko is a young sensation with a fine backup team. I predict he will soon be known worldwide and I hope for European and North American Concert Tours soon. Part of the magic behind this artist is Sound Producer Alex Kolchin from Sound Kids Recording Studio who provides expert audio mixing. The first album of Dolgolenko is currently in the works . During a meeting with his fans he revealed that the lead hit in it will be a song about love. Currently Gregory alongside Ranel and other talented kids is touring Russia as part of the Super Deti Tour.

I am very excited about hearing what creations will follow in the next years.

http://youtu.be/37e1VVHVKT0

Official Page, Social Media, Instagram, Official Fan Group

Best Wishes from rjmendera

The Orphanage (2013)

The Orphanage (also known as The Institute and Milwood) is a 2013 thriller that has somehow flown beneath my radar despite the fact that it has heavy Coming-of-Age overtones in its narrative. The cover art is misleading, at best, as it gives the impression that the film would be a horror flick in the style of the Omen (kid holding a knife looking sinister).

Instead, the film’s story is about 11-year-old Nathan Perry (Christian Goodwin) who gets sent to Milwood, an institution for young adults, after the untimely death of both parents in a car accident. There, overwhelmed with grief, nervous and confused, Nathan becomes a victim of unforeseen terror and the unusual behavior of the people who run the institution.

Granted, portraying the fate of a victimized kid at the hands of sociopathic, authoritative adults is often a subject addressed in movies. And, while the screenplay of The Orphanage does not really present any surprises, it tends to be overly ambiguous.

There are inexplicable issues with sound (some of the dialogue is barely audible) in the first scenes which, thankfully, is addressed at a later stage ( an odd silence is replaced with a suitable score, even if some static noise can still be heard). The camera work is shaky and never surpasses the quality one expects from a low-budget TV drama (it could be editing mistakes that causes this impression).

Chrisian Goodwin as Nathan in The Orphanage

Yet, despite the aforementioned cinematic imperfections, the story manages to engage, a suspenseful atmosphere is present, and one does not feel boredom during the entire movie. Parallels could be drawn between the characters of Chrisian Goodwin and those of Robert Naylor (Tommy LeBlanc) in Daniel Grou’s Dix et demi and Harley Cross (Dan Love) in Juan José Campanella’s The Boy Who Cried Bitch. All of the protagonists of these films have had to spend time in institutional settings after falling victim to an unfortunate event in their lives. Additionally, they all learn (as everyone does at some point) fairness in life is often just wishful thinking.

The Orphanage’s narrative is character based, focusing both on the acting and dialogue of its young protagonist. Christian Goodwin is present in just about every scene, essentially carrying the entire film. Despite being a newcomer to acting, Christian manages to portray the fragile nature of his character in a stellar manner and his screen presence is enough reason for people to view this film. In fact, his performance outshines that of just about every adult actor in The Orphanage.

The finale felt a bit rushed while, at the same time, quite anticipated. Despite the abundance of negative online reviews, I believe that the film’s rite-of-passage narrative and the acting of the young protagonist justifies the spending of one’s time and I don’t hesitate to recommend the film to fans of the Coming-of-Age genre. I failed to completely understand the plot at times – the fact that ambiguousness (what really happens with the kids in Milwood?) may be welcomed by some audiences who like to interpret events in their own manner.

The Orphanage /Milwood Trailer

http://www.imdb.com/title/tt2181778/combined

The Visit (2015)

A suspenseful drama written and directed by M. Night Shyamalan and starring Australia’s most prominent young actor, Ed Oxenbould, HAS to be good…or so one would think.

Unfortunately, the premise of The Visit fails to capture one’s interest for its entire duration. This is mainly due to the fact that the found-footage (where the events on screen are typically seen through the camera of one or more of the characters involved, often accompanied by their real-time off-camera commentary) horror subgenre has become so cliché ridden that even Shyamalan’s trade mark “sudden plot twist” is not enough to make one recall the film a day after seeing it – or at least get a little scared while watching. In fact, it’s hard to believe that The Visit was directed by the same person responsible for the cinematic masterpiece The Sixth Sense.

The film’s plot is simple enough: brother Tyler (Ed Oxenbould) and sister Rebecca (Olivia DeJonge) Jamison are sent by their mom to a farm in rural Pennsylvania farm to spend a week so as to get to know their maternal grandparents. The kids have never seen their grandparents due to their mom’s escape from the family nest after her teen-aged boyfriend got her pregnant in high school. Rebecca is an aspiring filmmaker intent on filming the entire experience of meeting their grandparents for the very first time, which is why the shaky hand held camera is the predominant technique used in the film. Unfortunately, not much realism is achieved despite that fact. Tyler perfectly fits the stereotype of an awkward teen eager to impress the ladies – if not with his looks, then with his “astonishing” rapping skills.

Upon arriving at their grandparents’ farm, the kids are informed of the bedtime in the house – 9.30 pm – and told that going outside of their room past that hour wouldn’t be a wise thing to do. But, kids being kids, Rebecca and Tyler do it anyway – only to discover that there is much more on this farm than first meets the eye and their relatives are not who they seem to be …( just like the infamous saying in the Twin Peaks series, “The Owls Are Not What They Seem”).

Ed Oxenbould and Peter McRobbie as Granfather and Grandson in The Visit

What follows feels like a distasteful adaptation of the Hansel and Gretel fairy tale – complete with “Would you mind climbing inside the oven to clean it?” phrase – modernized (we have Skype and cameras nowadays) and softened down to a PG 13 horror comedy flick. This one fails to really engage the viewer, however, despite the fact that child characters in horror flicks are the epitome of the ideal victim who typically make anyone watching care about.

Of course there are some better than average acting performances – such as that of Ed Oxenbould, who steals just about every scene he appears in. But just like his two previous films (both of which I’ve had the privilege of observing his acting) Alexander and the Terrible, Horrible, No Good, Very Bad Day and Paper Planes, I feel slightly disappointed that such a promising young talent has been stuck in mediocre productions.

The Visit – Trailer

Introducing Ranel Bogdanov

You don’t need to be an adult performer to have an amazing stage presence. Ten-year-old Ranel Bogdanov (Ранэль Богданов) is the living proof that one can be a striking front man at any age.

Born in the capital and largest city of the Republic of Tatarstan in Russia, Kazan, Ranel took part in the second season of the reality television singing competition The Voice Kids (Голос. Дети).

During the blind audition, he blew away the jury with an emotive cover of Dima Bilan‘s song – I Am a Night Hooligan.

Dima Bilan was one of the jury members and could not hide his excitement. But who won’t be excited with such a bundle of energy who has a great voice and wicked dancing skills (doesn’t come as a surprise knowing that Ranel is fond of breakdancing)!!

Prior to appearing on The Voice Kids: Russia program, Ranel competed in and won numerous youth talent competitions, both in Russia and in International contests. He was consequently signed by the Ecole Productions label despite being younger than most of the other youth talents managed by them (mostly teenagers aged 13 till 18).

On 14-Sep-2015, Ecole released Ranel’s first professional video clip – Сердце земли (The Heart of the Earth). The young vocalist’s hair style, and the decision to shoot the clip in black and white, give an almost 80s feel to the clip. Once again the young artist delivers a striking performance filled with energy and bravado while demonstrating impressive vocal range and control.

Currently, Ranel’s schedule is filled with interviews and concerts, the biggest of which has been organized by the Super Kids Project (Super дети ) and will happen on 13-Dec-2015 at one of the biggest open squares in Europe in the Russian capital of Moscow.

Unfortunately, as is often the case with Russian performers, not much information about him is available in English. Yet, if you enjoy Ranel’s music, you can follow his career at his official VK fan site.

Curse of the Witching Tree (2015)

Featuring a story about witchcraft, ancient curses and evil spirits, the British 2015 film Curse of the Witching Tree is like a mixed bag of candy. While the narrative is wholly engaging and spooky (in the middle of the night this reviewer hesitated to make a trip to the bathroom), the cinematic qualities leave a lot to be desired.

Amateurish transitions, unconvincing camerawork and bad editing plague the film. The acting, especially that of the adult cast is uninspired, which diminishes the authenticity of the characters being portrayed.

These imperfections are somewhat redeemed by the film’s score and sound effects which, combined with the distressing storyline, manage to evoke a sense of fright in one’s mind. Still, one can only regret that the filmmakers working on Curse of the Witching Tree did not possess the financial resources (it being an independent production) or expertise to turn the film into a true masterpiece, instead of a movie featuring engaging, yet mediocre storytelling.

The opening scene is promising enough. Set in the Middle Ages, it features a child (with a distinctively spooky voice) telling the story of a woman who was accused of brutally murdering her son and subsequently hung as a witch. If the film’s story remained in the Middle Ages instead of being fast-forwarded 500 years to a recent day in the UK, and kept the child characters instead of the mediocre adult cast, the storytelling could have been much more engaging. Instead, we have a typical horror flick with some clichés, though not enough to completely ruin the experience.

I would still recommend the film for the slight Coming-of-Age overtones and the scare it evokes despite all of its imperfections.

http://www.imdb.com/title/tt3796936/combined

Wide Awake (1998)

Many filmmakers seek to produce a truly inspirational Coming-of-Age movie. But some attempts (Mimi Leder’s Pay it Forward) are more successful than others (Mike Norris’s I Am… Gabriel).

An ingenious combination of drama and comedy, Wide Awake features the heartwarming story of 10-year-old Joshua (Joseph Cross), a young boy trying to understand the world around him while, at the same time, having to deal with the grief that has possessed his youthful mind ever since the demise of his beloved grandfather.

Attending a Catholic school for boys, Joshua decides that the only way to make sure that God is taking care of his grandfather is to ask directly. So he decides to embark on a mission in search of God.

Joseph Cross - A wise beyond his years appearance — Joseph Cross – A wise beyond his years appearance

Written and directed by M. Night Shyamalan, who also wrote and directed The Sixth Sense a year later, the movie is filled with adorable young characters (for a complete cuteness overload) and humorous scenes, but possesses layers of meaning intertwined with its seemly easy-going and entertaining narrative. The action and characters have significance beyond the context of the film itself, as its story explores serious issues such as hope, belief, grief, bullying, and acceptance, as well as certain biological reactions that are part of everyone’s rite–of–passage experience.

Joseph Cross as Joshua in Wide Awake ( 1999) — Joseph Cross as Joshua in *Wide Awake*

The high point of the movie is the capable acting of Joseph Cross, who narrates the story in the first person and is present in almost all the scenes of the movie. Extremely photogenic (and cute as a button), Joseph has the appearance of someone wise beyond his years, which gives authenticity to Joseph’s self-discovering journey. As in most Coming-of-Age narratives, the character of Joseph is a dynamic one, which develops significantly due to the encounters and events of his youthful life.

The trailer really emphasizes the Coming-of-Age elements of the film, but somehow forgets to hint at the film’s spirituality.

A majority of the scenes are shot in long takes, ensuring that nothing distracts the audience from the elegant beauty of human interactions. As a connoisseur of treble music, I enjoyed the short, yet lovely, rendition of Gloria performed by Joseph and his classmates.

Mixing children and religion in cinema often results in in-your-face preaching, which may appeal to a younger audience, but is likely to turn off the other end of the age spectrum. Thankfully, that’s not the case with Wide Awake, as its director made sure the story is told and the film’s message gets across without sacrificing the entertainment value of the scenes. That guarantees the viewer will enjoy the film in its entirety.

Wide Awake is highly recommended for everyone seeking a poignant Coming-of-Age film with a message. It’s inspirational and a must-see!!

Alexandru and Suite 16

Alexandru

Our readers first met Alexandru about four years ago when he was eleven, singing Bieber’s Mistletoe in a video produced by Stormbreaker from London. A lot has happened in four years and we now focus on Alex at age 15 in a new Norwegian boy group called Suite 16.

I must admit I was not very impressed with Alexandru’s singing back then. His English was sometimes off, his notes were not precise and the recordings were fairly unexciting. But after reviewing his tracks recently its apparent to me he has improved. Alexandru plays keyboard and lately there are songs with acoustic guitar. There has been a definite move from solo songs, mostly covers, to tunes done with other artists.

In a breaking but improved adolescent voice, Alex sings Its Not Over by Daughtry. Let’s remember there were some fantastic young singers on theSkyKid.com at that time-Munther, Chance and Mateo, just to name a few.

But young Grindvoll was slowly sharpening his skills, presenting better videos. Examples include those with Alexia Urtei (Always a Good Time) and another with Martine Singer (Say Something). The three originals I found from this time, however, are simply not quality creations, but then not everyone is good at originals. The Dream of You from August 2012, Together from July 2013, as well as Give Me a Chance, are simply dreamy teeny crush-pang inventions!

A cover song which did please me (and which shows progress) is And the Snakes Start to Sing (Bring Me the Horizon). This has a more Cajun, nasty sound, which somehow fits our clean cut, natural, bright-eyed Norge boy!

Alexandru’s pleasant appearance and his warm, sensible online behavior earn him plus points. But as a singer, we also hear his weaknesses. In Beneath Your Beautiful, we notice the voice is still a bit shaky. In Counting Stars, breathing problems are noticeable, but then Love Me Again is a good video and may be the start of a move away from solo songs.

At this time, Alex also attempted some collaboration with Jonezy, a UK artist, but I find this hip-hop/rap style does not really fit him.

Suite 16

Alexandru’s new path is with Suite 16, founded by Eccentric Music, Oslo. The group members were chosen from 300 applicants in a Reality Show: Project Boyband. Nine chosen hopefuls proceeded to a “boyband boot camp” from which the final five members were chosen. They are: Andy Hawk, Thomas Alexander Strandskogen, Alexander Grindvoll, Kevin Knutsen and Vemund Rosendal.

My impression so far from songs like To Be With You, Stupid Lovesong and Seven Days: uncomplicated, fresh, vibrant, nicely coordinated, but not too stylized. It’s a great start, and a new video is highly anticipated by the fans called Suitehearts.

I had to look back some years to review the “Boyband” phenomena, which started in the 80’s and faded at the turn of the century. Suite 16 could actually hit a wave of new starry-eyed, sunny boy groups inflaming the hearts of many young teen girls. Who knows? It’s a risky road!

Of the many, many groups in the 80’s and 90’s, most went unknown and were short-lived. For example, Dream Street (It Happens Everytime) broke apart in the late 90‘s as they were climbing the charts, the result of disputes between parents and management. B2K, an all-black group with P.Diddy, tore apart because of in-fighting. O-Town disappeared because its members had too many “side projects”.

I’m pointing this out as a warning. Stay in tune! Stay focused on your goals!

There were some very successful ones, of course, if you count “brother acts” as Boy groups. Jackson Five, The Osmonds and later, Hanson, are examples. Still later All 4 One, NSync, New Kids, Backstreet Boys, Jonas Brothers and Boyz II Men took over the stages. These acts brought us some fine music, even if their style didn’t fit your profile!

I am hopeful that this enterprise will be rewarding for Alexandru and Suite 16. I’m also ready for new inventions from these five likable young Norgemen!

A new tune, as well as a concert in Oslo, are on at the time of publication. It will be interesting finding out more about the other group members and watching you all perform! Good Luck!

Follow Suite 16 on Facebook

Top 10 Kids of Horror

Coming-of-Age can be terrifying too! While horror-themed flicks with rite-of-passage overtones are somewhat rare (except in Japan and Korea where filmmakers embrace the idea), there are enough seemingly innocent characters who can make your heart pound and and put a real scare into you.

Irrespective of gender, growing up has it’s share of bloody encounters, with scraped knees and bruises etc. And that’s just from the “normal” everyday experiences we’ve all had. But some of us remember special days like scary Halloween nights filled with “trick or treating” and being scared by the inventive costumes some kids came up with to wear on that scariest of nights while growing up.

So in honor of that common experience of childhood, we have compiled a Top Ten list of terrifying child actors who have starred in movies featuring nightmarish metaphors for the loss of innocence.

Proceed with caution…

1. Seamus Davey-Fitzpatrick – The Omen

A new age of evil threatens to arise when an American diplomat (Liev Schreiber) and his wife (Julia Stiles) learn that the child (Seamus Davey-Fitzpatrick) they adopted may be the son of Satan.

2. Lina Leandersson – Let The Right One In

A bullied young boy befriends a young female vampire who lives in secrecy with her guardian.

3. Haley Joel Osment – The Sixth Sense

A boy who communicates with spirits that don’t know they’re dead seeks the help of a disheartened child psychologist.

4. Samara Morgan – The Ring

Samara, whose stringy hair hides her face for most of her screen time, is a possessed girl behind the VHS tape that kills everyone who watches it.

5. Gavin Brown – Found

Found is a Coming-of-Age horror movie about a 12-year old boy who discovers his older brother is a serial killer.

6. Isabelle Fuhrman – The Ophran

Isabelle Fuhrman gave potential adoptive parents something to think about as ribbon choker-loving Esther in the 2009 horror film The Orphan.

7. Niles and Holland Perry – The Other

The Other is a compelling, shocking and entertaining film that won’t leave anyone indifferent.

8. Karen Cooper – Night of the Living Dead

The little zombie darling is by far the creepiest of the creepy little girls in horror films.

9. Junio Valverde – The Devil’s Backbone

The Devil’s Backbone is a mournful and beautiful new ghost story by Guillermo del Toro.

10. Carol Anne Freeling – Poltergeist

The adorable child actor made her mark on horror film lore when she delivered the famous line, “They’re here”.

We are interested in all your comments and your own picks, so feel free to post your top Kids of Horror in comments.

Cat Killer (2010)

Being a part of the gang…belonging — the ultimate childhood goal that has inspired myriad adventures. Yet often, just as with friendship, one has to earn it — often by participating in bizarre tests of courage with potentially catastrophic results (such as jumping from high rocks and swimming across a pond, sometimes even by kids who can barely hold themselves afloat, as was part of my own tribulations once).

“A plank, a clothespin, a rubber and a nail…The Cat Killer is ready!”

The two young protagonists of the story in Cat Killer (Matagatos) have just created a homemade shooting device …and are ready to test its accuracy …with an unlikely target.

The short film, by the Spanish director José Luis Montesinos, is titled after a homemade gun that boys in Spain and Argentina played with in the 80s. The smartly written short opens with an intertitle that reads “In the 80s, more than 1000 kids lost an eye while playing with a homemade gun”, which immediately forms expectations in the mind of the viewer, as to how the storyline of the film will turn out.

Thanks to skillful directing, a great musical score and an abundance of well-arranged close-ups, suspense and tension arise in the viewer, creating a sense of unease.

It’s a well-shot, and well-acted and directed 4-minute short film, proof that even a simple idea (or perhaps nostalgic memory for some) can be turned into a captivating movie by a talented filmmaker.

Similar short film – i Killer

Little Accidents (2014)

It doesn’t come as a surprise that some of the best Coming-of-Age movies belong to the Indie scene. The 2014 debut feature film of writer/director Sara Colangelo, Little Accidents, is no exception. It also confirms my observation that women directors (Ursula Meier – Sister and Home, Dorota Kedzierzawska – Jestem — and now Sara Colangelo) generally show more understanding of the inner world of young male characters than do their male counterparts. They (the woman directors) are able to direct a drama that significantly affects the audience without manipulating it with overtly over emotional sentiments.

As in any serious film, the action and the characters of Little Accidents have very little significance beyond the context of the film itself. A subtle, yet sensual, portrayal of guilt and innocence lost – revealing truths of human nature through the character of Owen Briggs (Jacob Lofland), who endures in a struggle against the human weaknesses present in his personality after an accident that has forever altered his world.

Jacob Lofland plays Owen Briggs in Liitle Secrets.

Even though in my review of Jeff Nichols’s 2012 film Mud I focused mainly on the acting performance of Tye Sheridan, it should be noted that the solid supporting role played by Jacob Lofland contributed a great deal towards the poignancy of the narrative. Now, having a lead role for himself in Little Accidents. Lofland makes an impression with the naturalness and sincerity he projects on the screen.

There are always burdens that each of us carries throughout our lives. Whether those are similar to those of the protagonist of Little Accidents or not, identifying with Lofland’s character and his internal struggle comes naturally.

During the 105 minutes of the movie’s runtime, the action drags a bit, but that is not unheard of in psychological dramas. Guilt and forgiveness, intertwined with grief and responsibility, makes for a powerful narrative. The slow pace does not diminish the effectiveness of the narrative, as the alternative storylines of the film’s other main characters challenge the viewer to guess how they will tie into Owen Brigg’s fate.

Little Accidents is a gem of the independent Coming-of-Age cinema, and I don’t hesitate to recommend it.

Little Accidents Trailer

Visit to a Chief’s Son (1974)

It’s impossible for me to ignore a film whose main focus lies in a Rite-of-Passage ritual. Yet I expected much more from Lamont Johnson‘s Visit to a Chief’s Son.

The premise of Kevin (played by John Philip Hodgdon), a young boy (who is the son of an anthropologist) going through his own transition to manhood while accompanying his father on a mission to record the Rite-of-Passage rituals of the Masai tribe in Africa, would seem to be enticing enough. But, unfortunately, its execution makes the film more suitable for cultural anthropology students or fans of National Geographic – thanks to the abundance of African Wildlife footage — than the average filmgoer.

The action stretches too much to provide exciting entertainment and, if it were not for the genuine approach of portraying a developing friendship between Kevin and the Massai tribe chief’s son Codonyo (Jesse Kinaru), it really would make for a dull narrative.

The boys serve as alter egos to each other, sharing Rite-of-Passage experiences such as a stroll through the savanna while seeing many different creatures; going skinny-dipping; escaping an angry elephant — all of which eventually result in them being wiser and becoming more accepting of themselves and each other’s cultures.

Despite the abundance of beautifully shot wildlife scenes, I get the feeling that I’d have enjoyed the story more by reading it in Robert Halm’s 1963 novel from which the film was adapted. The movie felt like a dramatized documentary, interesting in its own way, yet devoid of the adventurous spirit I felt when viewing Henryk Sienkiewicz‘s In Desert & Wilderness (featuring a stunning Coming-of-Age narrative).

The lavishly sentimental score by the French composer Francis Lai, succeeded in masking some of the film’s imperfections – arguably even the less than convincing acting by most of the relatively small cast.

Yet, despite the irritations, I had with Visit to a Chief’s Son, the film’s beautiful cinematography, combined with a well-matched score, ensured that the film will have its own group of followers – unfortunately, one that I won’t be a part of.

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