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The Little Girl Who Lives Down the Lane (1976)

7.1
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Ratings: 7.1/10 from 8,015 users  
Reviews: 90 user | 59 critic

13-year-old Rynn Jacobs lives alone in a high-class Quebec small town, but unknown to the neighbors, she is leading a secret and dangerous life.

Director:

(as Nicholas Gessner)

Writers:

(novel), (screenplay)
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Title: The Little Girl Who Lives Down the Lane (1976)

The Little Girl Who Lives Down the Lane (1976) on IMDb 7.1/10

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Cast

Complete credited cast:
...
...
...
Mort Shuman ...
Miglioriti
...
Mario
Dorothy Davis ...
Town Hall Clerk
Clesson Goodhue ...
Bank Manager
Hubert Noël ...
Bank Clerk (as Hubert Noel)
Jacques Famery ...
Bank Clerk
Mary Morter ...
Teller
Julie Wildman ...
Teller
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Storyline

Rynn Jacobs is a thirteen-year-old girl who lives in a secluded house that she and her father have rented in a quiet seaside community. But whenever anybody from the town tries to satisfy their curiosity, Rynn's father is never around, and it seems as if the girl is all alone. Rynn's resourcefulness is put to the test as several people try to find out what she might be hiding, including the snobby landlady and her sleazy son. Written by acidxian

Plot Summary | Plot Synopsis

Plot Keywords:

girl | father | house | alone | murder | See All (67) »

Taglines:

Thank heaven for little girls. Thank HELL for the little girl who lives down the lane! See more »


Certificate:

PG | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

|

Country:

|

Language:

Release Date:

26 January 1977 (France)  »

Also Known As:

Das Mädchen am Ende der Straße  »

Box Office

Budget:

CAD 1,100,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

The stage name that Mario Podesta (Scott Jacoby) used for his magic shows was "Mario the Magician". See more »

Goofs

Officer Ron sets his wine glass on the mantle before he leaves the house. When we see the mantle later, the wine glass is gone. When we see the mantle the third time, the wine glass has re-appeared, but in a different position. See more »

Quotes

Mario: Somebody's out there.
See more »

Crazy Credits

Rynn sits staring at Frank Hallet through the entire ending credits as the fire burns behind her. See more »

Connections

References Mary Poppins (1964) See more »

Soundtracks

Piano Concerto No. 1 E-Minor
Music by Frédéric Chopin
Performed by Claudio Arrau with London Philharmonic Orchestra
Conducted by Eliahu Inbal
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
This little girl can look after herself just fine, thank you.
24 June 2006 | by (the Mad Hatter's tea party.) – See all my reviews

Rynn Jacobs is a lonely, but well equipped 13-year old girl who lives with her poet father, while keeping a dark secret in the cellar. Although whenever somebody dropped by she would tell him or her that her father was too busy to greet his or her guests, or that he was out of town. But her life in solitaire is interrupted when she gets a visit from her snoopy landlady and her perverted son who takes a real shinning to Rynn. This is when Rynn goes to any lengths to keep this lifestyle with the help from a local crippled boy Mario, to herself.

This noteworthy gem of small-scale, mystery-thriller incorporates a fascinating slow-drifting character study that has certain believability in its characterizations and manipulative suspense. The macabrely, lurid context of the film could have over-step the mark, but it keeps it mostly under-wrapped with it being more hinted, than aiming for anything really illustrative. But that in mind, it doesn't lose any of that unnerving effect that's spun out, because the confronting performances and crafty dialogues are extremely effective in underlining the disquieting horror that lurks within the film's make-up. What sweeps you along is that the script is lyrically dense and quite thoughtful, while it still generates psychological tension in certain scenes without needing to go out with a bang. There's nothing big or powerful about it, because it plays it cards close to its chest and grafts away with it's involving story and sedated handling. The compelling plot is incredibly well defined by touching on many different aspects that Foster's character encounters. These range from loneliness to her approach on life through an adult perspective and finally that of her estrange relationships with some of the town's folk. It's all about her finding her feet and living her life the way she wants to without the intrusion of others (the adults) enforcing their resolutions onto her because she's "just" a child. Life is what you make it and she's not going to play their game. It's just really hard to categorise this unique film (which, was originally intended to be a TV movie), because it goes down oh so many paths, but it's successful in gelling them together.

Jodie Foster in the lead role makes the character her own by providing a maturely astute performance as the independent girl Rynn Jacobs. Her professionalism really does take hold in this picture and she does so with great control. Martin Sheen is equally as good and believable by playing his villainous character in a very subtle way, but still able to bring a creepy and vile presence to this predator Frank. Scott Jacoby is likable as Mario; Alexis Smith is great as the intrusively stern landlady Mrs. Hallet and Mort Shuman as the caring local officer gives a moving performance. What makes these performances so great is that they have vivid characters to feed off and shape.

Since it was intended to be a TV movie it does feel and look like one, but none of that took away from the elegant looking production. You could tell it was low-key because most of the film did take place in or around Rynn's isolated house. The direction by Nicolas Gessner is carefully crafted and from the outset he paints a mysteriously brooding atmosphere. The simple layout of photography is crisp and beautifully demonstrated. While, the stirring score is quite a strange one with it's heavy handed approach, but it has some sort of a hypnotic trance because it likes to play around with the moody and quite edgy situations.

This under-appreciated find of the 70's is a surprisingly focused and innovative treat that grips you from the very opening.


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