Before the Film
The Little Fugitive (1953) was directed by Morris Engel and Ray Ashley. It was edited by Rutho Orkin. The film was nominated for an Academy Award for Best Writing, an odd occurence since there is virtually no screen play as we normally think of the term, and this is probably why it recieved the nomination. The film is on the National Flm registry.
Morris Engel was a still photographer from Brooklyn whose first foray into motion pictures was Little Fugitive. He had been a navy photographer in WWII and sot films of the landing at Normandy, Professionally he was interested in candid shots and this resulted in him being the co-inventor of a 35 mmm movie camera which was small enough to be concealed. The film continues his tradition of "candid" photography. Much of the film concentrates on a rather amorphous story of a 6 year old boy who is convinced he has murdered his brother, and as a result runs away to Coney Island, is full of candid shots of people and places in and around the area.
Françios Truffault, associated with French New Wave cinema wrote that if had not been for Little Fugitive there would have been no "New Wave".
Ruth Orkin (later to become the wife of Morris), a major photographer on her own right had some motion picture film experience. Engel had been having trouble finding an editor for the film, Orkin agreed to edit until one could be found. One was never found and Orkin became the editor of the film finally suggesting o Engel he stop looking because she wouldn't let any one else edit it!
The film was released in 1952 and is a difficult film in that it was very low budget (hence the problems of finding an editor). The major actors were all youngsters, with the star of the film Ritchie Andrusco being only 6. The film is shot carefully relative to synchronized sound which was all done in post production. Since these were largely not professional actors, the youngsters are often shot from the back whenthey are talking, or the audience is shown reaction shots. This was because the youngsters couldn't always lip synch in the post production phase of the film.
Music was supplied by Eddie Manson on the harmonica. In part, the choice to go with a single instrument was economic, but the choice is perfect given the role of the harmonica in the film.
Engel wanted the film to be about the experiences a child would have. In some instances when Ritchie was asked to do things, he told Engel he really didn't want to do that. Engel would ask hinm what he wanted to do and Joey would tell him. Engel would get him to do whatever he wanted and then would go and film him doing what Ritchie wanted to do. So in a very real sense the film does document what a 6 year old boy would do in Coney Island.
After the Film
The film is about nothing and everything. The relationship between the two brothers is strong despite the momentary flare ups. Joey idolizes his brother and is willing to forgive him anything, whether it is hitting him with a hammer or pretending to be shot so he can gte rid of him.
Lenny always wants to "lose" his brother yet defends him and fights for him all the time.
The film shows how kids learn by imitation. The entire sequences with the photographer demostrates this quite nicely. As soon as the photographer leaves to develop the picture, Joey goes and imitates the whole process of setting up the photo and getting soemone to smile.
Joey becomes friends with a boy who collects bottles and learns from him how to make some money so that he can ride the horses, but he also discovers that some things are not worth the effort for a small return. This is clear when he goes to get a cup water for the woman with the baby. Having battled his way to the fountain and back he spills the water at the last minute and sneaks away, rather than going through the hassle of getting another cup of water even though he loses two bottles in the event.
Joey is exposed to a person who has drowned (or come close to it) and who is carried from the beach. This moer real death is quite different from Lenny's "death".
Some Film Techniques. Few (4) Optical. Engel was told a professional film has at least 4 opticals.
Some of the shots are unforgettable - Joey under the boardwalk, the couple kissing, dawn on the Boardwalk and so on.
The film is very much shot from a child's point of view. Adults heads are rarely in the frame unless Joey is talking to them. The camera is kept at virtually his head height.
The use of photographing from the rear to avoid sound synch problems has already been mentioned.
The use of harmonica music - a instrument associated with Westerns matches Joey's Western fascination and Lenny's actual harmonica.
Joey gives Lenny a beat up softball for his brithday which Lenny throws on the ground. Later when Joey goes missing, Lenny holds the ball and looks at it wondering what has happened to Joey.
Joey has been given Lenny's harmonica after he "shoots" him and holds on to it carefully. When he drops it at one point he scrambles around some rocks to get it back. Later Lenny will let him have it (until they get home).
The music Lenny plays on the harmonica is heard from the calliope on the merry go round when Joey is riding and causes him to cover his ears and run from the ride, since the music reminds him of Lenny's "murder". There are clear symbolic links meing forged by Engel between the softball nd Joey on the one hand and the harmonica and Lenny on the other.