Blu-Ray Review: The Little Girl Who Lives Down the Lane

Director: Nicolas Gessner
Screenplay: Laird Koenig
Based on a novel by: Laird Koenig
Starring: Jodie Foster, Scott Jacoby, Martin Sheen, Alexis Smith, Mort Shuman
Country: France, Canada
Running Time: 92 min
Year: 1976
BBFC Certificate: 15


Jodie Foster had quite a year in 1976. Only thirteen when the year came around, she’d already enjoyed a successful career with dozens of TV credits and a couple of films under her belt. 1976 marked the beginning of her transition from child actor in family shows and Disney movies to a truly accomplished actress though. Within one year she starred in the cult classic (at least in more recent years) Bugsy Malone, family favourite Freaky Friday and, most notably, Martin Scorsese’s Taxi Driver, in which she played a pre-adolescent prostitute. With these films she cemented her place in cinema history in one fell swoop. There was another film released that year though that is less talked about, The Little Girl Who Lives Down the Lane (plus Echoes of a Summer, but I know little about that). It won awards for best horror film and best actress for Foster at the Academy of Science Fiction, Fantasy & Horror Films, so within genre circles it was well regarded, but it certainly doesn’t share the reputation of the three other 1976 titles I mentioned earlier. Signal One Entertainment felt the need to address the balance a little though and gave the film a decent Blu-Ray release in the UK a couple of years ago. I recently got my hands on a copy and here are my thoughts on it

The Little Girl Who Lives Down the Lane sees Foster play Rynn, a thirteen year old girl living on her own in a small town, but hiding the fact to her rather nosey neighbours. She tells them her father is a poet that is always working upstairs and doesn’t want to be disturbed. One neighbour, Frank Hallet (Martin Sheen), is a sleazy man, known by the townsfolk for having a taste for young girls and he sees Rynn’s isolation as an opportunity. Frank’s mother (Alexis Smith), who owns the property Rynn rents, is also suspicious of the situation and continues to snoop around, until she is accidentally killed after discovering a dark secret in the house. Rynn hides her body, but local teenager Mario (Scott Jacoby) bumps into her and can see something isn’t right. As the two develop a strong bond, Rynn decides to let him in on her secret and the two do their best to keep on top of things.

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Occultober – Day 2 – The Believers

The Believers
Oscar winning director John Schlesinger (Midnight Cowboy) comes to the Satanic Panic party way late in the game, albeit there was a bit of a mini-revival in 1987 (Jacob’s Ladder, Angel Heart, and two others that will come up later on this month.)

The Believers has a shocker of an opening involving a coffee pot and a puddle of milk which makes Martin Sheen a widow and his son, motherless. While trying to rebuild his life as a police psychologist, they are persecuted by conspiracy and cults in New York City as he gets into a deep investigation into Latin America’s brujerías, or witches. Lurid, panicky and sweaty, as is right for this kind of film, Schlesinger pulls no punches, which may not exactly class up the joint, but makes for an pretty effective 80s horror outside of the ubiquitous teen sex and slashers glut.
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Trailer: Beautiful Boy

Beautiful Boy Movie Still

Not quite as good as Rabbit Hole, perhaps suffering a bit from first-time-feature jitters, but Canadian school-shooting drama, Beautiful Boy (Kurt’s Review), starring Maria Bello and Martin Sheen (and a wonderful but tiny role for Alan Tudyk), has dropped a new trailer, going to heavy manipulation and melodrama. Which is certainly how the film plays out. Fair warning.

Beautiful Boy follows the aftermath of a school shooting but it does so from an angle we haven’t seen yet: the parents of the killer.

The trailer is tucked under the Seat.

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A Martin Scorsese Marathon

Basically, you make another movie, and another, and hopefully you feel good about every picture you make. And you say, ‘My name is on that. I did that. It’s OK’. But don’t get me wrong, I still get excited by it all. That, I hope, will never disappear.” – Martin Scorsese

For the better part of the last three decades, I have been a fan of Martin Scorsese. My admiration first took bloom in the summer of 1985, and happened to coincide with what I consider to be the discovery of my young adult life; set off the main drag of the town I grew up in, I found a small video store. Now, this in itself was no great revelation; in the years before Blockbuster came barreling into my area, forcing all the smaller video chains out of business, there were at least half a dozen such stores within a 3-mile radius. But the moment I walked into this particular video palace, I knew it was special. Where most were lining their shelves with numerous copies of the ‘hot new releases’, this one had titles like Midnight Cowboy, 2001: A Space Odyssey, One Flew Over the Cuckoo’s Nest, Straw Dogs, A Clockwork Orange, films that the others simply didn’t offer. For me, this store was a treasure trove, and I returned there often, sometimes 3-4 times a week, uncovering classic after classic, films that, to this day, I consider some of the finest ever made.

And it was here that I first found Mean Streets.

Tough and unflinching, Mean Streets was like a punch to the head for a 15-year-old from the suburbs; a marriage of images and rock music, violence and pain the likes of which I had never seen before, offering a glimpse into a lifestyle that I found all too real, and a little bit frightening. I must have rented it at least six times that summer, and as a result, Mean Streets fast became my favorite movie. More than this, it was my jumping-off point into the career of Martin Scorsese. After Mean Streets, I moved on to Taxi Driver and Raging Bull, two more shots to the head. Through these three films, I realized just how deep, just how down-and-dirty, and just how moving the cinema could be. They marked a turning point in my development as a film fan. Movies were no longer limited to the land of make believe; they would also be a window overlooking the real world.

Now, almost 24 years after I first walked into that video store, I’ve decided to take my admiration to the next, perhaps the ultimate, level. Over the course of the last several weeks, I sat down with everything that home video has to offer of Martin Scorsese’s work behind the camera, 26 films in all, and what I uncovered on this love-fest of mine proved to be just as enlightening as that first viewing of Mean Streets all those years ago.

As I sat watching one Scorsese movie after the other, I found myself asking, “What exactly is it that constitutes a Martin Scorsese film”? It was a question I had to pose, because I quickly realized that most of my initial beliefs, the pre-conceptions I had built up about the man and his career, only told part of the story.

For one, there was my presumption that the recurring trait in every Scorsese film was a down-to-earth quality, where the genuine, the realistic, would be favored above all else. Well, this is certainly true in some of Scorsese’s finest films, especially those where actual events served as a foundation (Raging Bull, Goodfellas, Casino, The Aviator). However, it was wrong of me to discount the role that fantasy played in Scorsese’s work. The opening scene of Alice Doesn’t Live Here Anymore looks as if it was lifted right out of Gone With the Wind, and the musical numbers of New York, New York were obvious nods to the Hollywood big-budget spectaculars of the 40’s and 50’s. There is the dreamy romance of The Age of Innocence, and the hilarious bad luck of Paul Hackett in After Hours; in short, films that have little or no basis in reality whatsoever, proving that the fantastic plays just as important a role in the great director’s work as reality does.
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