Little Fugitive

A true classic of American Cinema Verite, "The Little Fugitive" works on several levels. On one level, it's a magnificent portrait of New York, and particularly Coney Island, during the early '50's, when New York City, if you were a kid, was truly a magic place. Anyone growing up in that period can easily identify with the fun and wonders to be seen at Coney when you were a kid and had the day free and money to spend from turned-in pop bottles (Remember those?). Professional photographers, the husband-and-wife team of Morris Engel and Ruth Orkin told a simple story with an eye toward preserving, on film, a way of life that would disappear in just two decades time, and in such an involving way that you feel yourself becoming part of it. All that's missing is the salt air and discarded popcorn bags.

Now to the performances, every one of them a gem. Rickie Brewster and especially little Richie Andrusco as Lennie and Joey, two boys with no previous acting experience, give natural, ingratiating performances as the two brothers at the center of the story. One wonders whatever happened to them, and if, in fact, they're still recognized almost 50 years later. As to the adults, most of them New York-based stage actors, Winnifred Cushing, as the boys' mother, come off as just a bit too arch to be really likeable, but Jay Williams, in the main adult role of the ingratiating pony ride man, more than makes up for it with an enjoyable, lively performance. And see if you can recognize a very young Will Lee, aka "Mr. Hooper" from "Sesame Street," as the photo booth man who lets young Joey help him out.

In short, "Little Fugitive" is not only great as a movie, but also as an evocation of a time and place that lives only in the memories of those who were there.

As children growing up in Brooklyn in the 50's, this was my brother's and my very favorite Sat. afternoon movie. As an adult, reaching back for things of value to proffer to my children, I was delighted to find that this was still available, though bemused by the high critical acclaim and near cult status. I loved this movie because it spoke to me- I knew how the beach smelled after a rain, how much Joey longed to ride that pony, how the peculiar torture by an older brother could be forgiven and forgotten by a moment's offhand kindness (and a little guilt). Cinema verite notwithstanding, this was the truest movie of a real adventure I'd ever seen, and wonderful

A brilliant masterful one of a kind film. Morris Engel's beautiful photography and Ruth Orkin's talented editing take this film to heights rarely seen. An innovative camera allows for a `documentary/candid' quality to this film about a 6 year old boy (Richie Andrusco) who runs away to Coney Island because he thinks he accidentally killed his brother. Beautifully composed shots under the boardwalk a images never to be forgotten. For any serious film student (in fact for anyone) this is a `must see'.

French New Wave cinema must be incredibly indebted to this poignant, sensitive and insightful film.

"The Little Fugitive" is less a movie than it is an immaculately pristine and wistful time-capsule of the '50's. A self-exiled 7-year-old wanders an amusement park in a now long-lost world free--relatively speaking--of child-molesters and out-of-control tort lawyers. Filmed on location on Coney Island, using only its crowds and beach as it was in the Summer of 1953, and not a phony backdrop or clueless extra anywhere in sight. In high-quality black & white that misses nothing.

Generally credited as one of the pioneers of independent cinema (as far as making your own film your own way and still getting seen in theaters), Morris Engel used his background as a New York City photographer to bring a fresh, down-to-earth feeling to filmmaking. Engel and his wife, photojournalist Ruth Orkin, wrote, directed, produced and edited their own low-budget films, shot by Engel using a hand-held 35mm camera of his own design.

The first of their three films, LITTLE FUGITIVE, is a beautiful, innocent film about a seven-year-old boy who is tricked by his older brother and runs away to Coney Island with six dollars. As the boy interacts with his new world on the boardwalk, Engel really transports the viewer there. The film feels like a documentary: sparse dialogue, realistic acting, hand-held cinematography and real locations. The FUGITIVE actors and atmosphere never come off fake: as the boy is hitting baseball in a batting cage, one hit ball flies towards the camera and you find yourself jumping out of the way!

The actor doesn't stop with this film "mistake", he's having fun and keeps going. All the childhood loves are there: bottles in the sand, hot dogs and cotton candy, ponies and parachute rides. With their films, Engel and Orkin created folklore, paving the way for directors like Truffaut, Godard, Cassavetes and Leigh.

FUGITIVE was successful for a non-studio film in the '50s, playing to over 5,000 theaters.