LITTLE

US, 2019, 111 minutes, Colour.
Regina Hall, Issa Rae, Marsai Martin, Justin Hartley, Tone Bell, Luke James.
Directed by Tina Gordon Chism.

The title does not give all that much away. However, it has quite some meaning when we watch the film.

There have been many films with the vice versa theme, one character inhabiting another, a character moving from one age to another… Audiences over the years have found this a very enjoyable plotline.

For an audience who is not in a demanding mood, Little is quite entertaining. This time it is a 38-year-old businesswoman, Jordan (Regina Hall), reverting to age 13 – and looking like age 13, and sounding like the 38-year-old inside!

The film was written and directed by Tina Gordon Chism (who also wrote What Women Want, not a favourite film for 2019). On the whole, this is rather cheery entertainment – although not for Jordan, competence personified, workplace bully, who has to undergo some conversion experiences. While the film is set in an American business world, most of the characters are African-American?.

Poor little Jordan is something of a precocious student, bespectacled, big growth of frizzy hair, making presentations at school – and sabotaged by a jealous student, bullied, full of resentment but, instead of being resilient, she becomes ultra-resilient, determining that she will never be bullied anymore throughout her life. And, when we make the transition to Jordan at 38, she is not the kind of person you would really want to meet.

Jordan is rich. Jordan is the head of a company. Jordan sails through life thinking that her judgements are supreme. As soon as she nears her building, staff all scatter to be out of her way. The main target is her assistant, April (and engagingly sassy and sometimes self-deprecating performance from Issa Rae).

Jordan is shocked when one of her millionaire customers is threatening to pull out of his contract. And, at this crucial moment, a little girl whom she has pushed aside waves a wand casting a spell over Jordan – and that’s when the transformation happens, the vice versa, and experiences of shock horror. Because she looks like a little girl, everybody treats her like a little girl.

Marsai Martin gives an extraordinarily believable performance as the 13-year-old Jordan and really steals the show, looking 13, speaking, acting and asserting herself as 38.

Of course, there are all kinds of ups and downs, especially when authorities make Jordan go to school, her old school, were she flirts with the teacher, bosses the kids, is shunned in the canteen at meals, is relegated to the three students who are the most awkward in the school.

And, of course, there is a moral in this kind of story telling, to be oneself, one’s better self, to be one’s better generous self. And, this happens, as well as giving April the opportunity to act as a mother figure and assert herself at the business meetings. There is an exuberant talent show climax where the awkward kids are joined by Jordan, great success.

In fact, the film becomes a touch preachy towards the end, but, of course, this sermon-like storytelling is worthwhile.

1. The title? Expectations? Jordan and her change?

2. The city, the school, the science presentation, sabotaged? Jordan’s reactions, the bullies, the family, her determination?

3. The shift to the present, her luxury apartment, fashion? The city, the office buildings, modern and stylish? The meetings? The setting for Jordan of 38?

4. Jordan, head of the company, her affluent situation? Her bullying and terrifying people? Her relationship with Trevor – and not knowing anything about him? His being an artist? Everybody in the room Jordan, scattering, April and her role, bearing the brunt of Jordan’s bullying? The comedy of the bullying bass?

5. The millionaire, his fortune, is threatening to pull out of the contract? Jordan pleading? The presentation, his not being interested? Granted some days? Jordan, the awkward
feeling? April and her role? The staff meetings and her ridiculing the staff, their reactions?

6. The doughnuts, the little girl, Jordan being rude to her, the little girl and the wand, casting the spell, the change in Jordan? Audience expectations?

7. Marsai Martin and her skill of performing the exteriors of the 13-year-old girl, the interior Jordan at 38? Carrying it off?

8. Jordan still acting as imperious, April knowing the truth, the past with the valet and his freeing her as a child, the clashes with the neighbours and the neighbour reporting her, Trevor meeting is little girl in confiding his love for Jordan? The assumptions that she was young, talking to her in that way? The Jordan having only April 2 confiding?

9. At school, the teacher, flirting with him? The authorities? Her dressing up, superior, the ridicule by the bullies? Relegated to the table with the three misfits?

10. Her being bossy at school, the lunch, meeting with the group of three, each with their talent, yet awkward in misfits? The preparation for the show? They’re being accepted in order to be mocked? Jordan, leaving them, yet returning, their performance and success? Outshining the presumptuous bullies?

11. Jordan, in herself, having to learn, April stepping into a role, the fashions, being the mother figure, chairing the meetings, being apprehensive, her own personal pitch and Jordan not being interested? The change of heart, April making the pitch, the millionaire accepting it? The staff and their reactions? Jordan’s change of heart, forming the company, the staff being partners?

12. Trevor, his confiding in Jordan without realising it, his art and success, the bond with Jordan?

13. April, the search for the girl, to reverse the spell, no change? Jordan waking up, her return to herself? Change of heart and character?

14. The moral of this kind of story telling – and the future?