Aside from an ending that drags on unnecessarily, the scenario, peppered with colorful lines from a popular Quebecois dialect, proves brilliantly effective.
How not to fall under the spell of this little modern-day musketeer who decides to take her destiny in hand, carried by her faithful steed (her bicycle) in order to save the widow and the orphan from infamy, in this case here, his father of despair. The journey of young Hélène, imagined by the author Marie-Renée Lavoie in the novel of the same name, is fascinating. Impossible to take your eyes off this ingenuous and determined child who doesn’t have her tongue in her pocket. Actress Juliette Bharucha shines brightly in this role which seems tailor-made for her, although it is her first acting experience. Remember this name since this will certainly not be the last time you see this young girl on your screens.
The actress also forms a duo that is both improbable and natural with Gildor Roy, who embodies the “old man” of the story, a gruff man, but full of resources. The latter will come to lend a hand to Hélène’s family (who calls herself Jo, like her favorite cartoon character) in various situations, notably when the youngest of her sisters drinks bleach. Monsieur Roger will also support Jo in her new junk job. She gets up at dawn to bring money home.
Note that Vincent-Guillaume Otis also stands out in the role of the father, a professor, lover of literature, disillusioned, but strangely endearing. Marilyn Castonguay, in the guise of the mother, as well as little Gabrielle B. Thuot and Mia Drolet complete a distribution without false note.
Although the film deals with rather dark subjects, such as alcoholism, poverty and death, the light triumphs over the shadow, most of the time. The candor of childhood succeeds in embellishing even the most sinister ideas. Patrice Sauvé’s production takes advantage of the caring relationship between the little girl and the old man without excess of style. The numerous night scenes are particularly splendid and evocative. The historical reconstruction turns out to be impeccable. Everything has been thought out to transport the moviegoer to the heart of a popular neighborhood in the 1980s, from the brand of cars parked on the side of the road to the sweets eaten by the children. This time travel works wonderfully.
Tell you that The little one and the old man only generates good feelings would, on the other hand, be a lie. Tears will definitely roll down your cheeks at one point or another. Handkerchiefs shouldn’t be far away. Aside from an ending that drags on unnecessarily, the scenario, peppered with colorful lines from a popular Quebecois dialect, proves brilliantly effective. Whether or not you have read the original novel, The little one and the old man proves to be poignant, lucid and invigorating entertainment.
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