Film Review: Little Miss Sunshine (2006)

The American independent cinema scene has developed a penchant for pandering to its audience with films that are as formulaic as summer blockbusters from major studios. While this trend may seem uninspired, it is within this landscape that some truly exceptional films emerge, capturing the hearts of audiences and earning critical acclaim along the way. One such gem is the 2006 black comedy Little Miss Sunshine, a film that has transcended its predictable conventions to become a beloved classic.

At the center of the plot lies the eccentric and dysfunctional Hoover family, residing in Albuquerque, New Mexico. This motley crew includes Richard (played by Greg Kinnear), an unsuccessful life coach; his frustrated wife Sheryl (played by Toni Colette); her depressed, former scholar gay brother Frank (played by Steve Carrell); their foul-mouthed, heroin-addicted patriarch Edwin (played by Alan Arkin); Richard's rebellious teenage son Dwayne (played by Paul Dano); and Olive (played by Abigail Breslin), the aspiring young beauty queen who dreams of participating in the Little Miss Sunshine child beauty pageant in California. When Olive qualifies for the competition, lack of affordable transportation or other issues force this dysfunctional family embarks on a journey in a dilapidated Volkswagen van in order to accompany their aspiring queen on her quest.

The script by Michael Arndt appears to have all the ingredients for an award-winning formula: a road film narrative frame, quirky characters – including those with homosexual orientations – that force the cast to put more effort than usual into their performances; an adorable child among the protagonists; a mix of comedy, pathos, and sentimental drama; and a dash of satirical commentary on the cultural and economic establishment of America from decades past. It is no surprise that Arndt won the Oscar for Best Original Screenplay for his work on this film.

The awards did not stop there; Alan Arkin's portrayal of Edwin Hoover earned him a well-deserved Oscar for Best Supporting Actor, while many cast members received widespread praise for their performances. Young Abigail Breslin, who played Olive, would use her breakout role in Little Miss Sunshine as the starting point for an impressive career that continues to this day.

The film's success is much to the talent of Jonathan Dayton and Valerie Faris, two directors, who are spouses in real life. They have likely taken inspiration from their own experiences to establish the right kind of family dynamics that are explored on screen. More importantly, they underline the film's message that runs contrary to everything Hollywood and the rest of US popular culture was traditionally promoting.

Little Miss Sunshine criticizes the division of society into two categories – winners and losers – a concept initially promoted by Richard, and one that has contributed to the ultra-individualistic and hyper-competitive trends of modern America. If left unchecked, these trends might have devastating consequences for individuals and society as a whole. The Hoovers, despite all Richard's efforts, are losers; each of them fails in achieving their ambitions – whether in business, romantic relationships, career paths, beauty pageants, or merely making it out alive till the end credits. Yet, they manage to survive and find some sort of dignity and self-respect when they reject individualism and embrace themselves as part of a broader collective – in this particular case, the family.

The film's seemingly outrageous ending drives home this message, showcasing the importance of familial bonds over the relentless pursuit of individual success. Films with such a message, especially those that are funny and heart-warming without resorting to cheap tricks, are very rare. This is the reason why Little Miss Sunshine deserves recommendation even to viewers not accustomed to low-budget independent films.

RATING: 7/10 (+++)

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