Sofia Salmela in “Small Town Girl,” which premiered at the Twin Cities Film Fest Oct. 16. (image courtesy of Bill Cooper) 
Core cast and crew speaking about their filming experience post-viewing. The group included director Bill Cooper (third from right), writer Beth Hinde (second from right) and actress Tessa Torreano speaking (center stage). (Leila Montoya/The Crest)
What I thought were inconsistencies in the script made for the most unexpected plot twist in a seemingly stereotypical mean girls vs. outcast mystery film.
“Small Town Girl,” which premiered at the Twin Cities Film Fest Oct. 16, follows 14-year-old Rudy Simms (Sofia Salmela) and her mother Paula (Tessa Torreano) as they face the small-town pressure of not being the picture-perfect family. For Rudy, the desire to fit in with the cool girls ultimately leads to her disappearance.
Directed by Minnesotan filmmaker Bill Cooper and written by Beth Hinde, the movie’s title reflects their experience growing up in a small, northern Minnesota town in 1973: the perfect setting for mystery, gossip and crushed dreams.
Cooper and Hinde encapsulate what living in a small town is like through many characters: the awkward sheriff, grandma-like diner waitress and comedic mechanic, among others.
The opening scene of Rudy running late for her talent show makes the ‘70s feel alive again. Something about the way the sun glistened as Rudy ran with her guitar case in hand made me feel like I was watching a cinematic home video.
When I saw Rudy singing softly to herself and rocking some very colorful eyeshadow, I knew Salmela was the perfect casting choice. For a young actress, she expertly captured the innocence and raw youthfulness of experiencing the world for the first time, making new friends and dancing by yourself.
With the stage perfectly set, the film enters a new level of complexity with Rudy’s disappearance.
The script began to feel choppy early in the film after the last scene where we see Rudy: at a sleepover with two obviously two-faced girls, Anissa and Kayla.
As for Anissa’s cruelty and Kayla’s panic, actresses Noelle Evangeline and Paisley Kern, respectively, were memorable. Watching them lie and scream reminded me of how much power little girls think they hold.
I jumped to the conclusion that Rudy disappeared during or the morning after the sleepover, but the audience eventually learns she went missing a couple days later. Mystery movies are exceptionally thrilling when the audience feels like they can solve it themselves, but in this case, I was inhibited in my sleuthing.
In particular, the many flashbacks and time jumps remained a frustration throughout the film.
I was further confused when Paula was called in to identify a body and she requested that Anissa and Kayla join her for emotional support. What kind of adult, let alone mother, would ask that of two young girls?
At this point in the film, I was more focused on trying to solve the mystery of the thought process behind the script than the mystery of the story; the two felt oddly separate. I was doubting Hinde’s ability to depict real people.
However, it became clear that Hinde was just holding her cards close when I was cleverly tricked while trying to suss out Paula’s ulterior motive for bringing the girls.
What came next was incredibly baffling in its absurdity, but I’ll leave that for you to discover.
The town learned an important sentiment: you get what you give.
Almost without my knowing, the film succeeded in capturing my attention and making me question small-town dynamics.
Just when I thought it would all be wrapped up nicely — Rudy would appear again, the nasty girls would feel horrible and Rudy’s love interest would profess himself — the story went in a different direction.
The film had already addressed major themes around being a small-town outcast, the hardships of single mothers and even suicide. Though stereotypical, these themes are inherent to the story.
While these tropes contribute to a well-rounded mystery film, they weigh down the purpose of the film when the story extends beyond pure mystery.
Cooper said that for him, the overall themes were to “be careful what you say,” “accept yourself” and “follow what excites you.”
“I think everyone can relate to that,” Cooper said, speaking on the small-mindedness of typical small town characters. Along with Hinde, he wanted a positive ending and to provide closure to all the main characters.
Cooper said that the audience tends to want closure, which he provided. In doing so, the film turned into a wholesome story of a small town girl accomplishing big dreams.
This more ambitious goal took away from the intimate and enticing thrill that surrounded the mystery of Rudy’s disappearance, which was the bulk of the film.
After the premiere, Cooper mentioned that streaming services may pick up the film as a family-friendly watch. Through that lens, the ending of “Small Town Girl” was ideal.
I can’t help but miss the wondrous, edge-of-my-seat joy of realizing who the ruthless characters truly were, had the film ended more abruptly after the plot twist.
Had the multitude of themes been simplified, I would have been left reeling with a lasting impression of shock, strength and admiration that felt missing with the extension of the story.
“Small Town Girl” is a true mystery story that evolved into a heartwarming family film, to my disappointment.
Leila Montoya can be reached at mont1761@stthomas.edu.
