copperbeech's blog

film ~ little children

 abuse

Little Children

Based on the book of the same name by Tom Perotta, <i>Little Children</i> gives a glimpse into how a group of adults relate to children (and in some cases how they do not relate to children at all), and the shadow side of suburbia.  We have the gaggle of gossiping  stay-at-home moms who schedule sex once a week and take the kids to the park for daily playdates where they ogle The Prom King, a stay-at-home dad who desperately tries to hide his bruised masculine ego behind his eclipsing unhappiness.  However, Sarah (Kate Winslet), a self-confessed nonsuburbanite, befriends him from her own stale despair, embarking on an illicit affair.  Add into the pro-family mix a convicted child offender who has been released to live nearby with his elderly mother, provoking a reaction from the suburbia that is nothing less than a trial by peers.

The film moves a bit slowly, as each member of its ensemble is developed.  On all parts the acting is flawless.  Kate Winslet is stunning as ever.  We've seen her play the role of strong woman many times, so it is no surprise that she delivers Sarah with such ease.  Her fierce delivery of Sarah's plight and resolve is well-balanced with the character's primary flaw, which is that she's not particularly fond of motherhood, thus of her young daughter.  Jennifer Connelly brilliantly delivers a rather frigid power mom in an incredibly small amount of screen time as the partner to Patrick Wilson's Prom King.  The many layers of dysfunction in that relationship alone are a case study, which we see projected well through Connelly's suspicion of him and Wilson's confusion.  What is perhaps the most brilliant facet of this film is the character May McGorvey, the mother of the excon.  She is the only parent in the film who genuinely seems to have abiding affection for her child, and despite her desires for him to have a happy adjusted life she is not blinded to the reality of what he is.  The contradictions in that bond to the social assumptions about the childhoods of sex offenders is profound, further foiling the bent family dynamic presented through the entirety of this suburbia.

This film is not heavy handed in its disturbing imagery, though it doesn't need to be.  The mere suggestion that Ronnie, the nervous exconvict, is an admitted psychosexual offender provides enough information to leave anyone on edge for the entire film.  I did find the narration of the film distracting and unnecessary.  At no point did it reveal information that was not already evident from the progression, and I questioned its purpose in moving the plot.  Such an understated film would have been stronger without the blatant narration.  Given that, the direction of this film is fantastic, in that it allows the story to tell itself.  Scene transitions were a bit rough resulting in a disjunct tone, but for the most part it flowed well.  It manages to deliver social commentary without being critical or hypocritical.  The climax of the film is a bit weak considering the carefully detailed setup.  However, the crime you've expected to happen comes out of left field, further underscoring the strength of this screenplay.  In the end this film leaves you wondering who the adults are in the relationships, as with only one exception, everyone is indeed acting like little children.