Little Lord Fauntleroy (B or 3/4 stars)
Call me sentimental, call me a farty old school Hollywood fan, call me whatever ... I really enjoyed 'Little Lord Fauntleroy' (adapted from Frances Hodgson Burnett's 1886 novel, directed by John Cromwell), a British children's film that contains a great cast and some lovingly tear-inducing moments {I'm a sucker for that}. When the Englishman Capt. Errol dies in the 1880s, his American widow (Dolores Costello Barrymore) & polite young son Cedric (child star Freddie Bartholomew) live frugally in Brooklyn but are relatively content with their iffy lot in life. When "Ceddie" turns 9, the lawyer Havisham (Henry Stephenson) shows up from across the sea to tell the family that Ceddie's paternal grandfather, the Earl of Dorincourt (the great C. Aubrey Smith), who had denounced his son for marrying an American, is now calling for Ceddie to return to England to take the title Lord Fauntleroy, the earl's only successor & heir.
Though Ceddie won't miss leaving his rough neighborhood {kids pick on him}, misses shoeshine boy Dick Tifton (good 'ole Mickey Rooney), his protector; the kind Yankee grocer Hobbs (Guy Kibbee); and the elderly applewoman (the warm Jessie Ralph). Before departing, he uses his grandfather's $$ to leave them all heartfelt gifts. When Ceddie arrives in Erlesboror, he learns that his mom will not be allowed to live with him at the castle but will have a home provided nearby. Soon the sweet boy melts his gramp's cold heart & becomes very fond of him; overcoming his dislike of Americans in the process. But Ceddie finds his status threatened by a fortune-hunting woman who claims to be the mother of the earl's deceased eldest son; hence, making her OWN son be the rightful heir. Melodrama ensues en route to a presumably happy ending ... or is it?
After thinking about it, I realize that 'Little Lord Fauntleroy' is basically a boy version of the classic Pollyanna story. Like Pollyanna, Cedric goes to live with a wealthy (and crusty) old relative, insists on seeing the best in everyone, then wins-over the hearts of all who encounter him. Yeah, so I fell for this hook, line, & sinker. The film is, at times, too precious for its own good, but it's hardly a tough watch, thanks mostly to the wonderful performance by Freddie Bartholomew. While the 'character' of Cedric threatens to come across as too good-natured, too naively optimistic, too perfect, really ... Bartholomew is just so good, so charismatic, & so 'winning', that one can't help but to be invested in the young boy, anyway. Bartholomew also impressed me greatly in 1935's David Copperfield; where he also shared the screen with wonderful Jessie Ralph.
I also loved C. Aubrey Smith {not hard to do} as the crusty old coot who grows to love Ceddie as the film proceeds. Smith tied with William Powell for Best Actor at the 1936 Screen Actors Guild ceremony; I'm glad he received a major accolade there, because he's a wonderful character actor who was always a pleasure to watch in any movie he was a part of. Now, the film isn't perfect. As mentioned, it's a bit precious; sweet; syrupy. Many plot developments can be seen well ahead of when they occur. But I just really appreciate this type of heartwarming fairy tale. The emotional moments are well-executed (the immediate effect of Capt. Errol's death on his wife & so, Ceddie's separation from his mom, the moment his inheritance is in doubt), etc.. There's a simplicity about the proceedings that is very appealing. Charles Rosher's cinematography is atmospheric. The 19th century production designs are superb. The characters are colorful. I love the sense of nostalgia that this type of film evokes. So yeah, good movie; perfect for rainy Sunday afternoon viewing on the couch - of course - with a hot cup of tea.
Though Ceddie won't miss leaving his rough neighborhood {kids pick on him}, misses shoeshine boy Dick Tifton (good 'ole Mickey Rooney), his protector; the kind Yankee grocer Hobbs (Guy Kibbee); and the elderly applewoman (the warm Jessie Ralph). Before departing, he uses his grandfather's $$ to leave them all heartfelt gifts. When Ceddie arrives in Erlesboror, he learns that his mom will not be allowed to live with him at the castle but will have a home provided nearby. Soon the sweet boy melts his gramp's cold heart & becomes very fond of him; overcoming his dislike of Americans in the process. But Ceddie finds his status threatened by a fortune-hunting woman who claims to be the mother of the earl's deceased eldest son; hence, making her OWN son be the rightful heir. Melodrama ensues en route to a presumably happy ending ... or is it?
After thinking about it, I realize that 'Little Lord Fauntleroy' is basically a boy version of the classic Pollyanna story. Like Pollyanna, Cedric goes to live with a wealthy (and crusty) old relative, insists on seeing the best in everyone, then wins-over the hearts of all who encounter him. Yeah, so I fell for this hook, line, & sinker. The film is, at times, too precious for its own good, but it's hardly a tough watch, thanks mostly to the wonderful performance by Freddie Bartholomew. While the 'character' of Cedric threatens to come across as too good-natured, too naively optimistic, too perfect, really ... Bartholomew is just so good, so charismatic, & so 'winning', that one can't help but to be invested in the young boy, anyway. Bartholomew also impressed me greatly in 1935's David Copperfield; where he also shared the screen with wonderful Jessie Ralph.
I also loved C. Aubrey Smith {not hard to do} as the crusty old coot who grows to love Ceddie as the film proceeds. Smith tied with William Powell for Best Actor at the 1936 Screen Actors Guild ceremony; I'm glad he received a major accolade there, because he's a wonderful character actor who was always a pleasure to watch in any movie he was a part of. Now, the film isn't perfect. As mentioned, it's a bit precious; sweet; syrupy. Many plot developments can be seen well ahead of when they occur. But I just really appreciate this type of heartwarming fairy tale. The emotional moments are well-executed (the immediate effect of Capt. Errol's death on his wife & so, Ceddie's separation from his mom, the moment his inheritance is in doubt), etc.. There's a simplicity about the proceedings that is very appealing. Charles Rosher's cinematography is atmospheric. The 19th century production designs are superb. The characters are colorful. I love the sense of nostalgia that this type of film evokes. So yeah, good movie; perfect for rainy Sunday afternoon viewing on the couch - of course - with a hot cup of tea.