Archive for June, 2009

TOM SAWYER (1938)

Tommy Kelly as Tom Sawyer

Tommy Kelly as Tom Sawyer

Producer David O. Selznick couldn’t resist the stereotypical roles and Hollywod comedy pranks, that may frustrate modern viewers (like a pie in the face), in this 1938 The Adventures of Tom Sawyer. It is Tommy Kelly’s first film role and his acting varies from scene to scene. Better cast is Jackie Moran as the laconic, pipe-smoking Huck Finn. But this version is so beloved by many it’s hard for me to believe that Turner hasn’t released it on DVD.

Tommy Kelly

Tommy Kelly

Never forcing its pace, Director Norman Taurog manages to include most of Twain’s classic 1850 Missouri boyhood antics: including the fence-whitewashing episode, Tom’s rescue of Becky Thatcher (Anne Gillis) from the wrath of their schoolmaster (Olin Howlin), Tom and Huck’s “death and resurrection” after the boys briefly skipped town for an idyll few days on a remote island, the murder trial of town drunk Muff Potter (Walter Brennan) and ultimately unmasking of the vicious Injun Joe (Victor Jory) as the real killer… and of course the chilling climax in the cave, wherein Tom protects Becky from the fugitive Injun Joe.

The film shines in it’s supporting characters. Australian-native May Robeson, who portrays Aunt Polly, is believable transiting from the crusty harsh caretaker to loveable Aunt. There is a vaunerability to Walter Brennan’s Muff Potter, the town drunk. We should mention the interesting performance of Mickey Rentschler as Joe Harper.

Philip Hurlic & Tommy Kelly

Philip Hurlic & Tommy Kelly

Selznik makes Jim a houseboy instead of a man in this version. And I suppose it’s the stereo-typical characterization of blacks and indians that keeps this version from being released widely on DVD. The same could be said for Disney’s “Song of the South” (1946), although that hasn’t stopped the Bobby Breen films of the 40’s from finding a a DVD release.

Remarkably, the numerous child stars in this film were destined for unhappy lives. David Holt (Sid) spent his early life as a child actor in poverty as he, much like Tommy Kelly, waited for star-making film roles which never came. Jackie Moran (Huckleberry Finn) soared briefly towards elusive stardom when he was cast as the energetic sidekick of Buster Crabbe in the “Buck Rogers” (1939) serial. Immediately afterwards, Moran’s career plummeted into oblivion. Perhaps the only exception to this streak of bad luck was Ann Gillis (Becky Thatcher) who found herself always in demand to portray a screen brat. All would leave the film industry by the time they were in their early 20’s.

Tommy Kelly

Tommy Kelly

The cut-up screen antics, although fun, are at time distracting. The few moments that Tom becomes reflective, some comedy prank pulls us away from what could be a dramatic scene of thoughful insightfulness. This is especially true after Tom witnesses a murder by Indian Joe. In disbelief Tom sits in a chair in the house and along comes Aunt Polly with the cod-liver oil, her remedy to brighten up a moody boy.

Loved by many and often consider the best version of the story (that could be debated) it is certainly a captivating and fun film. Jackie Moran is excellent in the limited screen time he gets as Huckleberry Finn. Although not the first screen version of the novel (Jack Pickford, Mary’s brother, played him in the 1917 silent version – and there is a silent 1907 short also), this is a good place to start when analyzing Mark Twain on the big screen.

1938 Selznick International Pictures Director Norman Taurog with Tommy Kelly, Jackie Moran, May Robeson and Ann Gillis.

Comments (1)

IVANOVO DETSTVO (1962)

Nikolai Burlyayev as Ivan

Nikolai Burlyayev as Ivan

When we first meet Ivan he’s a happy child running dream-like through the forest, only to wake-up in a war-torn landscape. If coming of age is understanding the horrors of war, then Nikolai Burlyayev as Ivan is certainly well beyond that age by the time we meet him in the 1962 film Ivanovo detstvo (Ivan’s Childhood).

Nikolai Burlyayev

Nikolai Burlyayev

We learn about Ivan through young Lieutenant Galtsev (Evgeny Zharikov) who becomes our eyes and ears of this story, and by the last frame our conscience. When the wet dirty child is brought to him after crossing the front lines, Galtsev tries to interrogate him but is rebuffed by the boy, who insists that he call “Number 51 at Headquarters” and report his presence. Insulted by the boy’s insolent attitude, he is reluctant, but when he eventually makes the call, he is told by Lieutenant-Colonel Gryaznov (Nikolai Grinko) to give the boy a pencil and paper to make his report, which will be given the highest priority, and treat him well.

When Andrei Tarkovsky was invited by Mosfilm to direct this story of a twelve-year-old scout on the front lines in World War II, he agreed to do so only with the addition of four interludes, in which Ivan dreams of “the life he has been robbed of — a normal childhood.” And it is this poetic imagery that has brought critical acclaim and numerous awards to this his first film.

Nikolai Burlyayev

Nikolai Burlyayev

We learn that it is Ivan’s job to collect information behind enemy lines. Taking advantage of his small size he is able to slip through the barred wire, while the enemy would just see him as another lost war orphan on the landscape. Ultimately, Gryaznov and the other soldiers want to send him to a military school. They give up their idea when Ivan resists being sent away from the front line, up to the point where he tries to run away from the army unit and joins the partisans. The reason for Ivan’s determination to fight is his desire to avenge the death of his family and others, such as those killed at the Maly Trostenets extermination camp (which he mentions that he has seen).

Evgeny Zharikov, Nikolai Grinko, Nikolai Burlyayev

Nikolai Grinko, Nikolai Burlyayev

Unable to control the boy or persuade him otherwise, Officers Kholin and Galtsev ferry Ivan across the river and swamp so that he can attempt a dangerous reconnaissance one more time. He disappears through the swampy forest and the rest of the group returns to the other shore after cutting down the bodies of two other scouts hanged by the Germans. There they wait patiently for Ivan’s return.

Nikolai Burlyayev

Nikolai Burlyayev

Nikolai Burlyayev has one of the most haunting young faces ever to appear on screen. Poetically edited, surreal at times, breathtaking in it’s cinematic imagery, Ivan’s Childhood is one of the most memorable films ever made about the effects of war on children. Essential viewing!

1962 Mosfilm, Director Andrei Tarkovsky, with Evgeny Zharikov, Nikolai Grinko and Nikolai Burlyayev .

Trivia Note: A similiar story was made previously in 1960 by Russian director Karel Kachyna as “Prace.” As Andrei Tarkovsky’s film went on to fame and critical reviews, Prace was lost to film history.

Leave a Comment

WEDNESDAY’S CHILD (1934)

Edward Arnold and Frankie Thomas

Edward Arnold and Frankie Thomas

If “coming-of-age” means realizing that your parents aren’t the stable loving couple you thought they were, then twelve-year old Bobby has certainly reached that age in the 1934 film Wednesday’s Child.

Karen Morley and Frankie Thomas

Karen Morley and Frankie Thomas

Frankie Thomas, as Bobby Phillips, seems to carry all the emotion in this story that focuses on the collateral damage of a very bitter divorce between Mom (Kay Francis) and Dad (Edward Arnold). Bobby is a secure and happy child who’s only concerns are the long trips Dad takes away from home for his business. We see this conflict at the train station as mother and son say goodbye to dad. When the train pulls out of the station Bobby says “Gee, a month away from home” and a sad disappointment overwhelms his face. Next to him mother gives a sly little smile.

Richard Quine, Frankie Thomas and friends

Richard Quine, Frankie Thomas and friends

One day Bobby is playing at the river with his friends and are told a couple is in a nearby car necking and kissing. The boys sneak off for some fun, only to discover that its Bobby’s mother and a strange man. The little boy now has a secret to keep from his father and openly denies to his friends that it was his mother in that car.

It’s the 30’s and issues of divorce and extra marital activities were a scandal on the movie screen. In the big confrontation scene where Mom & Dad argue (Bobby is in the next room and hears everything) she tells her husband that her secret lover, and her, have done more that just date, ensuing that they’ve gone all the way.  You can almost hear the combined gasps of a 1934 audience.

As emotional as this scene is for Bobby, it is when he overhears his Mother say that she “really didn’t want him”, that brings the boy to his fragile state of mind. Eventually he has to testify against his parents in divorce court.

Edward Arnold and Frankie Thomas

Edward Arnold and Frankie Thomas

The result of the divorce is 4-months in the summer with his father, and the rest of the year with his mother. So we watch as bobby agonizes through the winter months with his mother and new step-father, but the summer with his father isn’t much happier when Bobby learns he is now second in his father’s life, after his new girlfriend.

Frankie Thomas as Bobby Phillips

Frankie Thomas as Bobby Phillips

The only solution seems to be to send the unhappy boy to military school.  A place it seems where many divorce parents send their boys. On a parents visitation weekend we learn that the loving, affectionate little boy has now turned into a “keep your distance, yes sir” kind of kid. 

Frankie Thomas in Wednesday's Child

Frankie Thomas in Wednesday's Child

As a trained stage actor Frankie over-mugs his role at times, but not enough to distract from the emotions and pain of the divorce we see on his face. Based on the stage play of the same name, Frankie Thomas was the only cast member hired for the film version based on his rave stage reviews. This little drama may be called a weeper, but illustrates, maybe over dramatically, the baggage a child can carry while trying to reach adulthood.

1934 RKO Radio Pictures, Based on the play by Leopold Atlas, Director John S. Robertson with Karen Morley, Edward Arnold and Frankie Thomas

Leave a Comment