The Little Hours

'The Little Hours' stands out as a unique cinematic experiment, blending a 14th-century setting with decidedly modern comedic sensibilities and dialogue. Written and directed by Jeff Baena, the film draws loose inspiration from Giovanni Boccaccio's 'The Decameron,' specifically tales from its third day, which often deal with themes of trickery and desire. The narrative unfolds in a convent in rural Tuscany, featuring nuns whose piety is comically contrasted with their worldly desires.

The central plot device involves a servant, played by Dave Franco, who escapes his master and poses as a deaf-mute gardener to hide within the convent walls. This premise allows for a rich exploration of deception, repressed desires, and the inherent absurdity of institutional life. Baena's decision to employ contemporary vernacular and a largely improvised script, based on a detailed outline, creates a disorienting yet effective juxtaposition.

This technique challenges traditional historical filmmaking, inviting the audience to engage with the material not as a literal period piece, but as a commentary on timeless human foibles through a contemporary lens.

The source material for 'The Little Hours,' Boccaccio's 'The Decameron,' is a foundational work of Italian literature, compiled in the mid-14th century. It comprises 100 novellas told by a group of young nobles fleeing the Black Death in Florence. The collection is renowned for its diverse range of stories, encompassing romance, tragedy, wit, and bawdiness, often challenging the moral and religious conventions of its time.

Jeff Baena's adaptation is not a direct translation but rather a thematic resonance. He selects elements that lend themselves to a modern comedic interpretation, focusing on the human, often flawed, nature of the characters. By transplanting the spirit of Boccaccio's tales-their exploration of human desires, social critique, and clever storytelling-into a cinematic format that embraces improvisation, Baena creates a dialogue between the medieval and the contemporary.

This approach respects the source material's essence while making it accessible and relevant to a 21st-century audience, demonstrating the enduring power of these narratives.

A defining characteristic of 'The Little Hours' is its reliance on improvised dialogue. Baena provided his ensemble cast, including Alison Brie, Aubrey Plaza, Molly Shannon, and Kate Micucci as the nuns, with a structured outline but encouraged them to generate their lines organically during filming. This method imbues the performances with a remarkable sense of spontaneity and authenticity.

Unlike meticulously scripted dialogue, improvisation can capture the natural rhythm of conversation, leading to unexpected comedic moments and character nuances that might otherwise be missed. The actors' chemistry and quick wit are paramount to the film's success, allowing them to explore the characters' personalities and motivations in real-time. This approach also contributes to the film's meta-commentary on storytelling and performance, blurring the lines between character and actor, and between historical narrative and contemporary creation.

The resulting humor is often sharp, observational, and deeply rooted in the actors' collaborative creativity.

Premiering at the Sundance Film Festival in January 2017, 'The Little Hours' garnered generally positive reviews from critics, who frequently lauded the cast's performances and the film's distinctive comedic voice. The ensemble cast's ability to deliver sharp, often irreverent humor through improvisation was a significant point of praise. However, the film also generated some controversy, particularly from Catholic organizations who expressed concerns about its portrayal of nuns.

This reaction highlights the ongoing tension between artistic freedom and religious sensitivities, especially when dealing with sacred institutions in a comedic context. Despite these criticisms, the film's theatrical release in June 2017 by Gunpowder & Sky was not significantly hampered. 'The Little Hours' succeeded in sparking cultural dialogue about faith, sexuality, and the interpretation of historical narratives, proving that provocative comedy can find an audience and stimulate conversation, even when treading on sensitive ground.