119: Bright Eyes (1934) - released 12/11/1934, viewed 9/22/08.
BIRTHS: Judi Dench.
DOUG: It appears I had completely misunderstood Shirley Temple's niche in Hollywood before I watched this movie. I thought that her movies were all-out musicals for kids only, but she was more for the family and all-ages market. Bright Eyes is not a kids' movie, nor is it really a musical, other than the famous Good Ship Lollipop number. That number is, I think, more indicative of a trend in the early sound period where nearly every movie made tried to incorporate a scene with music. I thought the movie was going to be predictable, and it mostly is; the Smythe family never really become more than one-dimensional caricatures, ready to toss the lovely Shirley out onto the street while still indulging their own demonic daughter's every whim. Still, it managed to surprise me in a few places. Loop and Uncle Ned, the two most awesome characters and the ones who care about Shirley the most, suddenly become enemies as they each try to claim custody. **SPOILER ALERT** I was almost in tears a couple times: when Shirley's mom dies was pretty rough (though that car hit looked awfully gentle), and Loop flying through the storm is pretty intense. **END SPOILER** If you're trying to get an idea of what Shirley Temple was all about in Depression-era Hollywood, Bright Eyes is a great place to start. Contract Player Alert: Charles Sellon (Uncle Ned) and Jane Withers (Joy) both appeared three films ago in It's a Gift, as Mr. Muckle and the hopscotch girl, respectively.
KEVIN: This movie surprised me. I really didn't expect to like it much, but the themes of the film and the complexity of many of the characters kept me interested. Of course little Shirley is great, everyone knows that, but all the adult characters, none of whom I recognized right off, are all very well acted and fully fleshed out. **SPOILER ALERT** I'm not gonna lie, I was indeed moved to tears in the scene where Loop (James Dunn) must tell little Shirley that her Mom has died. **END SPOILER** And I was even more intrigued when Shirley is taken in by the snobbish, blue-blooded Smythe couple with their bratty, Nazi-in-training daughter (Jane Withers). Although the custody battle between Loop and the Smythes is the center of the movie, the film does a really good job setting up the characters and getting all its ducks in a row for maximum emotional punch. I couldn't help but giggle at the schmaltzy happy ending, starting with the judge deciding that the proceedings "won't need lawyers anymore." Everyone gets what they want and/or what they deserve, even the crotchety uncle.
Last film: The Man Who Knew Too Much (1934). Next film: The Scarlet Pimpernel (1934).
BIRTHS: Judi Dench.
DOUG: It appears I had completely misunderstood Shirley Temple's niche in Hollywood before I watched this movie. I thought that her movies were all-out musicals for kids only, but she was more for the family and all-ages market. Bright Eyes is not a kids' movie, nor is it really a musical, other than the famous Good Ship Lollipop number. That number is, I think, more indicative of a trend in the early sound period where nearly every movie made tried to incorporate a scene with music. I thought the movie was going to be predictable, and it mostly is; the Smythe family never really become more than one-dimensional caricatures, ready to toss the lovely Shirley out onto the street while still indulging their own demonic daughter's every whim. Still, it managed to surprise me in a few places. Loop and Uncle Ned, the two most awesome characters and the ones who care about Shirley the most, suddenly become enemies as they each try to claim custody. **SPOILER ALERT** I was almost in tears a couple times: when Shirley's mom dies was pretty rough (though that car hit looked awfully gentle), and Loop flying through the storm is pretty intense. **END SPOILER** If you're trying to get an idea of what Shirley Temple was all about in Depression-era Hollywood, Bright Eyes is a great place to start. Contract Player Alert: Charles Sellon (Uncle Ned) and Jane Withers (Joy) both appeared three films ago in It's a Gift, as Mr. Muckle and the hopscotch girl, respectively.
KEVIN: This movie surprised me. I really didn't expect to like it much, but the themes of the film and the complexity of many of the characters kept me interested. Of course little Shirley is great, everyone knows that, but all the adult characters, none of whom I recognized right off, are all very well acted and fully fleshed out. **SPOILER ALERT** I'm not gonna lie, I was indeed moved to tears in the scene where Loop (James Dunn) must tell little Shirley that her Mom has died. **END SPOILER** And I was even more intrigued when Shirley is taken in by the snobbish, blue-blooded Smythe couple with their bratty, Nazi-in-training daughter (Jane Withers). Although the custody battle between Loop and the Smythes is the center of the movie, the film does a really good job setting up the characters and getting all its ducks in a row for maximum emotional punch. I couldn't help but giggle at the schmaltzy happy ending, starting with the judge deciding that the proceedings "won't need lawyers anymore." Everyone gets what they want and/or what they deserve, even the crotchety uncle.
Last film: The Man Who Knew Too Much (1934). Next film: The Scarlet Pimpernel (1934).