The Little Hours

The Little Hours, a remarkable black comedy released in 2017, is based on a satirical interpretation and dramatization of Giovanni Boccaccio's 14th-century work, 'The Decameron'. Directed by Jeff Baena and boasting an outstanding group of actors including Alison Brie, Dave Franco, and Kate Micucci, it's a hilariously unconventional retelling of Medieval life set in the picturesque countryside of Tuscany, Italy.

The film revolves around a secluded convent inhabited by a handful of idiosyncratic nuns. The ensemble cast features Alison Brie as the youthful and headstrong Sister Alessandra, Kate Micucci as the quirky and peculiar Sister Ginevra, and Aubrey Plaza in the role of the ill-tempered and disillusioned Sister Fernanda. These aren't your conventional movie nuns, and the humor arises from their down-to-earth issues depicted in a rib-tickling manner. The cloistered trio while away their dull lives in simple routines and meager chores while yearning for a taste of the outside world.

Dave Franco shines as the young servant Massetto, who is running away after a scandalous revelation from his hedonistic master, Lord Bruno, played by Nick Offerman. Franco's character ends up hiding in the convent and posing as a deaf and mute man to evade punishment. Underneath the ruse, Massetto is full of youthful vigor, curiosity, and keenly observant of the surrounding absurdity. This concise setup provides a fertile ground for the humorous turnout of events.

Through Boccaccio's lens, the film dares to challenge the cultural and societal norms of the time by lighting up the screen with a humorous take on religious, social, and sexual taboos. The entire premise is in strange contrast to the charged atmosphere of the convent, further deepened by the quirks and peculiarities of each character.

From impulsive actions, suppressed desires, to misunderstandings that end up causing more chaos than one might expect, the movie pulls no punches with its devilish wit and cheeky scenarios. The cast members, either individually or as a group, expertly tickle the funny bone with their oddball characterizations, naïve worldly outlooks, rebellious spins on piety, and the unexpected freedom they are suddenly granted in the face of societal norms.

Sister Marea, a small yet pivotal character played by Molly Shannon, embodies the emotional core and the wry wisdom needed to handle the rambunctious trio. John C. Reilly's portrayal of the well-intentioned but ultimately helpless Father Tommasso is impressive as well. Artfully utilizing the potential for humor in the power structures and absurdity of 14th-century life, The Little Hours also touches upon the journey of self-discovery, the multifaceted human ego, and what it means to be free.

Adam Pally, Fred Armisen, Jemima Kirke, and Paul Reiser also appear in supporting roles, enhancing the movie's comic relief and adding to its chaotic charm. The film's humor ranges from blasphemous to crude to strikingly astute- offering an array of laughs and giggles that cater to different comedic tastes.

The scenic landscapes and picturesque shots of the Italian countryside mesh well with David Wild’s sand-baked cinematography and the equally mesmerizing music score by Dan Romer. The restrained production design and costume styling imparts authenticity to the medieval setting and adds gravitas to the comedic plot.

Baena’s direction balances the narrative of the conflicts and inclination faced by these characters within the defined settings of the 14th-century convent. Using Boccaccio’s tale as its inspiration, the movie exhibits the perfect marriage between the outrageous humor and searing satire of medieval carnality, making the most of this paradox through sight gags, social commentary, and hilarious dialogues.

The Little Hours is driven by its dynamite ensemble cast, sharp humor and the perfectly balanced uneasiness of the situations the characters find themselves in, providing an engaging watch from start to finish. The movie's memorable characters and innovative narrative take the audience on a journey that oscillates between the hilarious and the thoughtful, thus opening up a fresh realm of comedic cinema.