The Little Rascals (1994)
Directed by Penelope Spheeris
When nine-year-old Alfalfa falls for Darla, his "He-Man-Woman-Hating" friends attempt to sabotage their relationship.
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What critics compared The Little Rascals to
But Baker, blending The Little Rascals with his own brand of indie neo-realism, cuts a direct path to the heart.
Baker pays tribute in the end credits to “The Little Rascals” shorts from the 1920s and ’30s, and I suppose one could mistake “The Florida Project” for a transcendent episode from that series.
Baker pulls it off by drawing on an unlikely inspiration: The Little Rascals.
Of course, Sean Baker ("Tangerine") was crediting the creators of the classic "Our Gang" comedies (better known to most of us as "The Little Rascals") and with good reason.
Sean Baker had hoped to make The Florida Project as the modern rejoinder to Hal Roach’s The Little Rascals, a series of early 20th century short films depicting the adventures of a dastardly group of ragtag young children.
“The Florida Project” has many antecedents: Francois Truffaut’s “The 400 Blows,” for one, and literary exposes of poverty like Betty Smith’s “A Tree Grows in Brooklyn,” but also classics of comic kid anarchy like “The Little Rascals” series, Jean Vigo’s “Zero for Conduct,” and Louis Malle’s “Zazie dans la Metro.”
El filme incluye una serie de referencias a las travesuras y rutinas de los niños de The Little Rascals (1994) –principalmente aquellas situaciones en donde la estatura de los más pequeños es ridiculizada porque se les considera incapaces de realizar tareas que sólo las personas altas pueden ejecutar–, y los directores, Pierre Coffin (Despicable Me, 2010) y Kyle Balda (The Lorax, 2012), intentan reproducir el aspecto retro de la época en que sitúa la mayor parte del filme: los sesenta en Estados Unidos e Inglaterra.
These things are almost always ill-advised—the shelves at Netflix distribution centers are bulging with unwanted copies of The Little Rascals (1994).
After all, the whole notion of hiring contemporary actors to try to revive an act that succeeded as much as a result of the original performers and the comedic timing and rapport that they developed through years on the stage and in front of the movie cameras just seemed weird at best and potentially disastrous at worst, as anyone who saw the 1994 revival of "The Little Rascals" or that ersatz Laurel & Hardy feature featuring Bronson Pinchot as Laurel and someone else as Hardy, a creation so bizarre and unsettling to behold that when I stumbled upon it on cable one bleak morning completely unawares as to its existence, I thought I was genuinely cracking up for good.
Rather than add menace to this world, he forces “Suicide Squad” to settle into a space that’s located somewhere between “The Avengers” and “The Little Rascals.”