ThiefHott Too much of everything

Colibel Terrible acting, screenplay and direction.

Raetsonwe Redundant and unnecessary.

Doomtomylo a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

Ishallwearpurple Little Lord Fauntleroy (1936) Freddie Bartholomew, C. Aubrey Smith, Delores Costello, Guy Kibbee. Made from an 1880's novel by Frances Hodgson Burnett, this is a loving, sweet story of a fatherless boy and his mother and how they come into their own. The grandfather is gruff and unforgiving of his son for marrying a foreigner and going off to America. But all is put right by the sweet grandson, who loves his father's "dearest" as he calls his mother. Called back to England to take his rightful place at the manor, little Lord Fauntleroy is the pride and joy of everyone on the estate in short order. A wonderful film to this day for all who have a heart and are willing to go along with a world of make believe. 8/10

Neil Doyle Freddie Bartholomew, the little British lad with the face of an angel and a sweet disposition, is the title character in this classic David O. Selznick version of the famous story. He steals your heart as he plays wonderfully touching scenes with C. Aubrey Smith whereby his character charms the gruff old man and softens his heart forever.The plot has Smith resenting the lad because he thinks so little of the boy's mother, through a misunderstanding of her true character. All of these things are swept aside by the time the story reaches its conclusion, with boy, mother and grandfather all reunited for a happy ending.I have to say that C. Aubrey Smith, the venerable old actor who stole scenes in many a British film, is at his finest in this particular role. Using his bushy eyebrows and monocle for great effect, his expressions of anger, joy, surprise or stern contempt are beautifully executed. What an actor! I don't think he ever showed such range in any other of his memorable character roles.Never for a moment intimidated by his gruff grandfather, Freddie stands up to him in scene after scene, matching him for pure professionalism. He too delivers a standout performance as the polite but resolute lad who worships his loving mother (Dolores Costello) whom he calls "Dearest." Mickey Rooney and Guy Kibbe are excellent in good supporting roles.John Cromwell's detailed direction is superb for this charming, if old-fashioned tale played to perfection by Freddie Bartholomew and C. Aubrey Smith.Notice how Cromwell even fleshes out background scenes with a single paper boy working hard to attract buyers while adding reality to a street scene focused on two other characters in the forefront.

wes-connors In 1880s Brooklyn, prissy Freddie Bartholomew (as Cedric "Ceddie" Erroll) celebrates his birthday by receiving a beautiful "highwheeler" from widowed mother Dolores Costello (as "Dearest" Erroll). When young Mr. Bartholomew takes the bicycle out for a ride, he is roughed-up by local bullies. But, Bartholomew fights back; and, he receives help from a swell pal, shoeshine boy Mickey Rooney (as Dick Tipton).Dusting themselves off, the lads listen to grocer Guy Kibbee (as Silas Hobbs) rail against "British aristocracy," after learning of their arrival in town. The British are coming, ironically, to take Bartholomew home to England. As it turns out, Ms. Costello's once denounced late husband fathered the only heir to the title "Little Lord Fauntleroy". And, Bartholomew must prepare to inherit grandfather C. Aubrey Smith's Earlship.In England, young Bartholomew (representing American idealism) clashes with gruff Earl Smith (representing British aristocracy). While that storyline reaches an obvious conclusion, there are others that make this film significantly more interesting than expected. Based on the classic story by (underrated) writer Frances Hodgson Burnett, it conveys some of the novel's nuances well, cleverly intertwining class, sex, and politics.In the 1930s, nobody could put a production together like David O. Selznick, and this is one of his best. As usual, they start with a perfectly cast lead. In one of his best parts, Bartholomew fits "Little Lord Fauntleroy" like a glove; he's even better "suited" to the role than was Mary Pickford (in 1921's version). Bartholomew was riding high after supporting Greta Garbo in Selznick's masterfully realized "Anna Karenina" (1935).Mr. Selznick liked to lure legends back before the camera, and succeeds with Ms. Costello; certainly, film-goers in 1936 couldn't help but be impressed with her billing - "Dolores" (a star on her own) "Costello" (as in Maurice) "Barrymore" (as in John) - the latter was used despite the fact that Dolores had recently divorced John Barrymore. Times change; nowadays, C. Aubrey Smith will raise more critics' bushy eyebrows.You also get Mr. Kibbee, providing seasoned counterpoint for the upper-crusted Mr. Smith, and similarly dignified Henry Stephenson (as Havisham). Kibbee's last words reveal the story's one real downer, but he handles the role expertly (and, you see the seeds of Bartholomew's likely post-pubescent rebellion). Watching old/young soul-mates Kibbee and Mr. Rooney perform together is a delight; and, Rooney is likewise marvelous.By the way, note director John Cromwell's simple, but stately, direction; smoothly tracking, he moves the story perfectly. Mr. Cromwell and the Selznick crew make the film into one of the era's better-looking productions. With photography by no less than Charles Rosher and music by Max Steiner, it's unfortunate this lost "Best Picture" received no award notices. If Selznick produced it at MGM, there'd have been nominations.The well-staged street scenes and beautiful sets are obviously highlights, with the opening sequences most impressive - but also noteworthy are simpler scenes. For example, later in the production, as Rooney and Kibbee shine each other's shoes, a singular paperboy is added to the background. Note the horse-drawn carriages, storefronts, and passersby throughout - this film is richly detailed, but never over-decorated.Taking a trip further down the credits, watch for great expressions from maid Una O'Connor (as Mary); the extraordinary Constance Collier (as Constanzia Lorridale), who inspired Joan Crawford and other legends; bratty Jackie Searl (as Tom Tipton), who gave Bartholomew a run for his money; lovable scene-enhancing Jessie Ralph (selling apples); and, listen for Helen Flint (as Minna Tipton) to exclaim, "What a hole!" ********* Little Lord Fauntleroy (4/2/36) John Cromwell ~ Freddie Bartholomew, Dolores Costello, Mickey Rooney, Guy Kibbee

Space_Mafune A nine year old Brooklyn boy nicknamed "Ceddie" (Freddie Bartholomew), beloved by all who know him due to his kindly nature, finds himself in for a most unexpected change of lifestyle when he learns he's to be heir to the estate of his grandfather (C. Aubrey Smith), a British Earl and has to move in with him. A bigger challenge for the boy to overcome though is to bring down the barrier between his stubborn, set in his ways grandfather and Ceddie's mother "Dearest" (Dolores Costello), who the Earl resents his son marrying as she's an American.This one really grabs you by the heartstrings and doesn't let up. Freddie Bartholomew is simply wonderful as "Ceddie", wonderfully capturing his character and winning over the viewing audience's hearts in fairly short time, no easy feat for a child star. C. Aubrey Smith too is just marvelous as the crotchety old grandfather who finds his stubborn, hard-hearted, icy exterior being worn away just by being in the presence of such a terrific young lad who loves him unconditionally. Dolores Costello too was nicely cast and delivers the goods when she's called upon to do so. It's the likable performances given by these stars that make this a real winner in that we're truly made to care about these characters and what happens to them.