Low-key, heartfelt story of Brooklyn gentrification ruining family and friendships. This appeared in theaters the same week Neil’s The Brooklyn Wars shipped. Ira Sachs and/or Magnolia Pictures are clearly trying to capitalize on Neil’s movement.
Jake moves into the neighborhood, Tony shows him around, and they become close friends. Jake’s parents are professionals: actor Greg Kinnear and doctor Jennifer Ehle, and have inherited the building where Tony’s mom (Paulina García, Chilean star of Gloria) runs a dress shop. Kinnear’s sister’s part of the inheritance depends on him raising the rent to market levels and forcing the shop out, and the kids are caught in the family crossfire.
B. Ebiri in Vulture:
Jake’s family isn’t exactly rolling in money; dad’s experimental, off-Broadway productions of The Seagull and whatnot don’t pay the bills. This isn’t an entitled family. They are, in their own way, victims of the same forces transforming Leonor’s neighborhood, just a little further up the chain. And for her part, Leonor isn’t above playing a little dirty. “I was more his family than you were,” she tells Jake’s dad, a little too bluntly suggesting that grandpa cared for her more than he did for his own family. Is it the truth, or is that her desperation speaking? Does it matter?
Ehle was my favorite part of Contagion but she’s not given enough room to be delightful here. Fortunately, García is just terrific. Found out from a Brooklyn magazine article: that’s the young actor who played Tony’s real accent – may he never lose it.
I always thought one of them as my Robert Bresson actor, and the other as my Martin Scorsese actor, and I really worked with those ideas in mind. With Theo the job was to let what emerges from the inside appear, to keep him very still. And with Michael it was to let him go free, the improvisational elements are much more within his character in a kind of Joe Pesci kind of way.
A single cut towards the end shows us that something critical has happened, and that a moment has passed. In an obvious way, the film is about friendship and those certain intense spells in childhood that never quite last; the final scenes, unglossed by any unnecessary narrative commentary, make a poignantly eloquent coda … There’s a certain no-big-deal quality to Little Men and to Sachs’s intentions which is immensely appealing.