Susan Orlean’s journalistic work has been adapted into films, notably “Adaptation” in 2002 by Charlie Kaufman, and “Blue Crush,” also from 2002. However, the latest adaptation, “Little Wing,” lacks the charm of its predecessors. Although John Gatins’ script is mostly decent, Dean Israelite’s direction is overly busy and disjointed, undermining the story’s potential charm.
The film is set in Portland, Oregon, featuring Brooklynn Prince as Kaitlyn, a 13-year-old girl dealing with her parents’ divorce. Kaitlyn lives with her detective mother Maddie (Kelly Reilly) and her brother Matt (Simon Kahn), who has become withdrawn. Maddie struggles to afford their home’s mortgage and has put it up for sale. She also unexpectedly allows Kaitlyn to have two racing pigeons from a co-worker.
Kaitlyn becomes interested in the racing pigeons after her friend Adam tells her about a valuable bird owned by Jaan. They decide to steal the bird and sell it to the Russian pigeon mafia. When Jaan discovers what they’ve done, they team up to confront the mafia and retrieve the bird.
The film uses a metaphor about pigeons and home, quoting Orlean about how pigeons have a strong sense of home. Kaitlyn, like a pigeon, loves her home deeply, but the reasons aren’t fully explored. Her brother Matt questions her, suggesting that growing up there was difficult at times.
The characters in the film lack depth. Kaitlyn is portrayed as a typical angsty teenager, with hints of darker thoughts. Other characters, like Maddie and Adam, are underdeveloped. The story overlooks important issues, such as police violence in Portland and Adam’s motivations. Brian Cox tries to bring depth to his character, Jaan, but the plot twist about his cancer feels forced and doesn’t add empathy.
The film’s direction by Israelite is incoherent, with a frenetic style that feels condescending. The score by Anne Nikitin lacks cohesion, shifting between different styles without blending them effectively. Overly flashy editing overshadows the cast’s performances. Despite being shot in widescreen, the visuals lack interesting content.
In a classroom scene, Kaitlyn recites lyrics from Kathleen Hanna’s song “Keep On Livin’.” This moment should feel cathartic, but it’s spoiled by shaky camera work and heavy-handed editing that dictates the audience’s emotions instead of letting the performance speak for itself.
The film fails to capture the beauty of pigeons. Despite their colorful plumage, the pigeons are poorly filmed, lacking close-ups to showcase their features. In the final race scene, CGI birds look fake as they surround Cox’s character.
Brian Cox, Brooklynn Prince, Susan Orlean, audiences, and even the pigeons themselves all deserve better treatment. They deserve a film that fully utilizes their talents, respects their contributions, engages the audience effectively, and portrays the beauty of the pigeons accurately.
| Aspect | Summary |
|---|---|
| Adaptation of Susan Orlean’s Work | “Little Wing” lacks the charm of previous adaptations like “Adaptation” and “Blue Crush.” |
| Setting | Set in Portland, Oregon, the film follows Kaitlyn, a 13-year-old dealing with her parents’ divorce, living with her mother Maddie and brother Matt. |
| Plot | Kaitlyn and her friend Adam steal a valuable racing pigeon owned by Jaan, leading to a confrontation with the Russian pigeon mafia to retrieve it. |
| Metaphor | The film uses a metaphor about pigeons and home, paralleling Kaitlyn’s attachment to her home with a pigeon’s sense of belonging. |
| Characterization | Characters lack depth, with Kaitlyn portrayed as a typical angsty teenager and others underdeveloped. |
| Direction and Editing | Director’s style is incoherent, with flashy editing overshadowing performances and lacking focus. |
| Cinematography | Despite being shot in widescreen, the visuals lack interest, and the portrayal of pigeons is unimpressive. |
| Emotional Moments | Emotional moments, like Kaitlyn’s recitation of song lyrics, are undercut by heavy-handed editing. |
| Treatment of Pigeons | The beauty of pigeons is not effectively captured, with poor filming and CGI in the final scene. |
| Overall Impact | Brian Cox, Brooklynn Prince, Susan Orlean, audiences, and the pigeons themselves deserve better treatment in a film that fully utilizes their talents and respects their contributions. |
