Rebecca of Sunnybrook Farm

This was never a story I really took to as a child, and even though Mary Pickford in the title role brings a great deal of charm to the character, I still don't much care for the story. "Rebecca" is a young girl whose family have fallen on hard times. One of seven siblings, she is chosen to go and live with her two maiden aunts - "Jane" (Mayme Kelso) and Miranda (Josephine Crowell) who, frankly, don't care much for or about her. Her personality is not for giving up, though, and she determines to make friends - alighting on the poverty stricken "Simpson' family to whose aid she intends to come (aka well meaning meddling). The film is pretty episodic, as is the book, in nature - and frequently her character borders on the annoyingly precocious. This production is well constructed and at times is a little more adventurous - the storm scene at the end is quite effective, and there's no denying that the star has the part down to a tee - it's just not a particularly enjoyable part to watch develop - and, well, I didn't. The two aunts play their indifferent, curmudgeonly, parts well enough and there is a bit of light-heartedness conveyed adequately via the inter-titles, but this just wasn't for me.

It speaks well to all involved that this is filled with plentiful light humor by way of clever gags and situational comedy, deftly covering for the dour severity of Rebecca's aunts. Certainly this is to the credit of author Kate Douglas Wiggin, and playwright Charlotte Thompson, but more immediately it's a credit to prolific screenwriter Frances Marion for giving cinematic form to the story of a plucky, energetic child thrust into circumstances that are ill-fitting for her. The intertitles and scene writing are characterized by wit and charm that counterbalance the less cheerful facets of the narrative, allowing this comedy-drama to mostly feel more like the former than the latter under director Marshall Neilan's shrewd orchestration of every shot and scene. And to that same end, it's hard to imagine anyone other than silent superstar Mary Pickford in the title role, for she embodies Rebecca with all the range, nuance, physicality, and otherwise skill we know she possessed, but above all there's an unremitting gaiety in her performance that's endlessly enchanting. None of this is to say that 'Rebecca of Sunnybrook Farm' is necessarily perfect, but it's very well done and great fun all around.

One should note a dubious instance of blackface that hasn't exactly aged well. Even by the standards of the silent era, there are also little details in the intertitles or scene writing that demonstrate values or culture that are all but totally alien to modern viewers. Smart, earnest, and entertaining as it is, mark this as an example of an older movie that may not appeal to those who aren't already enamored of works from the 1910s or 20s. This is to say nothing of aspects reflecting contemporary film-making sensibilities or capabilities (relatively exaggerated acting to compensate for lack of sound, sometimes brusque editing, division into discrete segments, and so on) that more commonly limit modern engagement. Yet though the sum total may not be altogether perfect, by and large I rather think this is splendid, and holds up better than some of its kin, or even no few flicks to follow the advent of talkies. That there are recognizable strains in the story is endearing, not off-putting, particularly as the good-natured levity of the proceedings readily shine through. Superseding the less favorable elements are themes of privilege, class, prejudice, plain old kindness, and stiff haughtiness, and the terrific contributions that everyone made to the picture.

Pickford stands out above all, yet her co-stars are no less able, and it's just a joy to watch the cast practice their art. Marjorie Daw, Eugene O'Brien, Violet Wilkey, Mayme Kelso, Josephine Crowell, and all others involved share in the tremendous spirit of warmth that broadly defines the film, making it all the more a delight. Moreover, crew behind the scenes did a fine job all around, from costume design, hair, and makeup, to sets, stunts, and simple effects. Modest by today's standards, there are nonetheless instances of cinematography or editing that are especially sharp on top of Neilan's swell direction. Really, even noting slight indelicacies or inelegance, in every way that matters most this is an excellent production. It may well represent "simpler entertainment for a simpler time," but there's gratifying sincerity and frivolity in the storytelling that handily outweighs whatever criticisms one might levy. Honestly, I quite had mixed expectations when I sat to watch, but I'm all so pleased at just how enjoyable and satisfying the end result is. While it may not be a feature that utterly demands viewership, when all is said and done 'Rebecca of Sunnybrook Farm' is softly compelling and rewarding, and in that unflagging wholeheartedness becomes something that's well worth one's time. Don't feel like you need to go out of your way for it, but at only 70 minutes, this is a pleasant, refreshing diversion.

When Adolph Zukor and Jessy Lasky merged their movie production companies into one, the Famous Players-Lasky, they eyed their partner in its Paramount Pictures distribution branch, William Hodkinson, to squeeze him out with an involuntary buyout. Once they did in the summer of 1916, Zukor and Lasky dropped their Famous Players' name and called their combined production and distribution company Paramount Pictures.

Zukor believed in signing the top movie stars in the business. One of his first contracts was with Hollywood's most popular actress, Mary Pickford. Her signature on the dotted line on June 24, 1916, was the first million dollar pact for an female performer. Zukor was willing to pay her $10,000 a week and to give her half the profits for each film she made. He guaranteed over one million dollars (about $20 million in today's inflationary dollars) for the year with her full control of each of her film's production, an unprecedented contract at that time.

So impressed was Zukor with Frances Marion's script of "The Poor Little Rich Girl" he took the unusual step of paying her $50,000 per year to be Pickford's official scenarioist, making her one of the highest paid writers in the business. Marion wrote two other scripts for her in 1917, both becoming instant classics.

For her second Pickford screenplay, Marion took the 1903 Kate Wiggin's children novel, "Rebecca of Sunnybrook Farm" and the 1909 play of the same name and adapted it to fit Pickford's magnetic personality. The September 1917 movie contains a series of vignettes of Pickford playing a young niece who is harbored by two aunts, one cranky and the other laid back She's harped on because of her confident independence, except for a one loyal friend and a rich young man who has eyes out for the adolescent Rebecca. Innocent romance develops between the two in this feel-good motion picture which the members of the American Film Institute nominated as one of 500 films to be considered for its "Top 100 Funniest Movies."

This is an ideal role for Mary Pickford, and she is quite a joy to watch. Young, lively "Rebecca of Sunnybrook Farm" is innocent but not naive; she is charming and warm, but at the same time more than capable of taking care of herself, too - thus the character has all the qualities that Pickford excelled at portraying on screen. It was probably a pretty easy role for her to play, but the result is a delightful little comic melodrama that gives you a good idea of why Pickford came to be so wildly popular in her time.

The story follows the old-fashioned novel fairly closely, beginning with Rebecca sent to live with her two stern, joyless aunts in a new town. Much of the story's appeal lies in the ways that Rebecca responds to her new acquaintances and surroundings, and this is something Pickford does extremely well. Whether sizing up a new girl at school, or simply responding to the decorations in her aunts' home, she is convincing, captivating, sympathetic, and often very funny. And as for comedy, the wonderful circus sequence alone would make the movie worth watching.

It's hard to find this film now, but it's well worth the trouble. Perhaps from a detached point of view, this might not be considered a great movie, since the plot is somewhat predictable and very old-fashioned. But it's a thoroughly pleasurable, thoughtful film, and one filled with fine moments.

Rebecca goes to live with her next-of-kin. She doesn't have much money, but I never thought that was a problem, especially for a girl.

Becky could have one of her girlfriends take pictures of her by the creek or posing on her bed. She could sell the photos to whatever passed for the National Enquirer back then (1903). Cosmopolitan was around since 1886.

Beck's pictures would bring a handsome ducat, especially in Europe, most notably Italy. I would pay a pretty euro for pics of Rebecca on her bed without panties.