My Boy

MY BOY (First National Pictures, 1921), directed by Albert Austin and Victor Heerman, under the presentation of Sol Lesser, stars little Jackie Coogan, in his second feature film following his scene stealing success in THE KID (1921) opposite Charlie Chaplin.

In his initial top-billed performance, Coogan plays Jackie Blair, a orphaned boy whose father was killed in France and mother who died on board a passenger ship bound for America after being two days out. Upon docking on Ellis Island, officials release all its passengers but one, little Jackie, who is to be deported back to Europe. Captain Bill Hicks (Claude Gillingwater Sr.), a crusty old man and former ship's master, notices this little boy. Learning about his circumstance from the officials, the old man decides to have the boy amused while waiting for deportation by having him going over and playing with the other eight children belonging to a third class passenger immigrant named Mama Pinkusowitz while arrangements for his return voyage are being made. However, Jackie thwarts both fate and immigration officials by sneaking through the gates as the Pinkusowitz family legally goes through. Before heading for their new home, Papa Pinkusowitz, who is making his head count of his kids, notices he now has an additional child. After Papa eliminates the extra child from the lineup and going on his way with his wife and kids, Jackie, the immigration child, is left to face life alone in the big city. Jackie soon stumbles upon Captain Bill once more, this time deciding to follow him to his shanty home. Knowing that immigration officials will be searching for Jackie, the old man softens up and decides to take him under his wing. The next scene that focuses on Mrs. J. Montague Blair (Mathilde Brundage) and her attorney reveals this rich matron to be Jackie's grandmother who, after reading a letter sent to her, has just learned of her late daughter's fate and that she now has a grandson who has disappeared from Ellis Island. In true pioneer director DW Griffith fashion, as fate would have it, Jackie is caring for the old man while his grandmother, who is arranging for a children's party at the settlement house, is not very far away.

MY BOY is not great Jackie Coogan material, but predictable and at times a cute story showcasing his many talents, indicating why he became a top child actor in his day. Memorable scenes for MY BOY include Jackie saying grace at the dinner table in the home of Captain Bill; giving himself a bath while standing in a bucket of water; and, singing and dancing on the streets in order to earn some extra money to buy medicine for the sickly old sea captain. While he attracts an accommodating crowd, this takes the business away from a rival organ grinder and his monkey, who decides he wants to keep the money meant for Jackie in spite of the boy wanting his share. As in many Coogan films, there is even moments of tears as well as laughter.

Co-star Claude Gillingwater Sr. (1858-1939) also gives a fine performance as a lonely old seaman, finding himself as the guardian to a young boy, sadly unable to find work because of his age. Because he owes back rent, the old man leaves it up to little Jackie in telling the landlord that he is is away in China whenever he appears at the front door. The only thing disappointing with this 52 minute featurette is that it ends abruptly, with no real satisfying conclusion, unless at the time there was a planned sequel in the making.

With a handful of silent movies remade during the sound era, it's surprising that MY BOY was not inspired in the 1930s by 20th Century-Fox as a revamped starring vehicle for its own popular child star, Shirley Temple, and retitling it as MY GIRL, particularly with the presence of Claude Gillingwater Sr., a familiar face in several of her films, to reprise his grumpy old man-turned-soft role, with Jane Darwell, another regular in Temple films, to play the matron grandmother.

MY BOY became one of many silent movies presented on public television's weekly series THE TOY THAT GREW UP, that premiered in 1965 (most notably on Channel 13 in New York City), and ending its run and revivals by 1972. Unseen in many years, MY BOY has become available on video cassette. The Grapevine Video presentation is not of clear picture quality nor nor of sharp focus, but it does include the same organ score that was used in THE TOY THAT GREW UP. But on the whole, MY BOY, a rare film to come by, makes satisfactory entertainment for any avid silent film enthusiast. (**1/2)

Five-year-old orphan Jackie Coogan (as Jackie Blair, "The Boy") arrives at New York's Ellis Island; his father was killed in France, and his mother passed away during the voyage. United States immigration officials want to take him back, but young Coogan thwarts fate by slipping through with a family of eight. With no place to go (but with cuteness to spare), Coogan tags along with grumpy old man Claude Gillingwater (as Bill Hicks, "The Captain"). Desperate for lodgings, Coogan seeks to make himself useful to crusty Gillingwater; and, his growing fondness for the boy makes increasingly difficult for Gillingwater to throw Coogan out.

Coogan's late 1921 follow-up to earlier-in-the-year hits "The Kid" and "Peck's Bad Boy" owes much to the former (Charlie Chaplin) film. Still, "My Boy" does rate very highly on its own. First of all, Coogan is, by now, obviously a remarkable young actor. Suspicions about the five-year-old's performances owing everything to "Kid's" Chaplin and "Peck's" Sam Wood are laid firmly to rest. Coogan proves himself, herein directed by Victor Heerman and Albert Austin, an actor to be reckoned with.

Coogan's characterization is incredibly natural, under the circumstances. He steers clear of the tendency to become mawkishly cloying -- the road, unfortunately, taken by many a "child star". At this point in his career, the credit must be given to Coogan's camp (perhaps, the boy and his father). "My Boy" solidified Coogan as a box office super-star. Gillingwater and Mathilde Brundage (as Mrs. J. Montague Blair, "The Grandmother") provide fine support.

There are (at least) two absolutely indispensable film sequences to watch for, in "My Boy": The first is when Coogan gives himself a bath and shower; his performance is wonderful. The second is when Coogan runs away from a party, after being accused of stealing a lady's purse; the resulting cinematic poetry might have left Chaplin feeling envious. Coogan dancing to an organ-grinder's beat is almost as indelible.

"My Boy" features one of the most endearing child performers in one of his best roles.

********* My Boy (1921) Victor Heerman, Albert Austin ~ Jackie Coogan, Claude Gillingwater, Mathilde Brundage

Little Jackie Blair arrives at Ellis Island, his father having been killed in France and his mother having died during the voyage. He manages to elude immigration authorities, and befriends an old sea captain. But the captain is out of work and behind on his rent. Meanwhile, Jackie's rich grandmother is searching for the boy.

Very cute and sentimental story, with Coogan in top form. Not as emotional or sentimental as "The Kid," but still quite charming with plenty of funny moments. Coogan's antics are adorable and so natural one has to wonder if he ad-libbed some of his scenes. Claude Gillingwater, as the captain, lends fine support.

This is a little gem. With the basic plot in mind, I'd recommend watching any of the foreign language versions, since the prints appear to be better, and the conclusion is more satisfying.

When I was a teenager, and just getting interested in collecting books on silent film (this was before you could actually GET them on tape for home use), I saw MY BOY on our local public television station, and I've never forgotten it. Besides the acting, I remember it for one scene of the New York skyline. Hope I can get my hands on a copy of this one to see it again! I recommend this one!! Jackie's the last word in "child actor."

Jackie Blair's father was killed in France. His mother died traveling in steerage. This leaves little Jackie Blair (Jackie Coogan) alone when he appears at Ellis Island, and the immigration officials want to send him right back. Captain Bill (Claude Gillingwater) appears on the scene asking for a job—but he's too old and no one wants him. He sees lonely little Jackie, pities him and asks the eight Pinkosuwitz children to include him in their games.

Thus, the Captain accidentally engineers Jackie's escape. The orphan is mixed in with the Pinkosuwitzes when they leave the immigration building. When they find they've gained a ninth child, they send him on his way. This leaves Jackie to follow Captain Bill back to his very modest home—for which the old salt is unable to pay the rent. Jackie tries to make himself useful. He even sings and dances with an organ grinder to make money for the Captain's medicine. Little does either guess that Jackie's wealthy grandmother (Mathilde Brundage) has everyone in immigration looking for the boy. When Jackie turns up at the matron's party for unfortunate children, he may be reunited with her. Or he may go to jail when he's suspected of stealing her hand-bag.

Jackie Coogan had just become a hit—the first great child star of the movies—when he appeared with Charlie Chaplin in "The Kid." This film is a tepid rehash of the Chaplin film. The slapstick gags are indifferently conceived and spaced far apart so that they don't build on one another. The makers of this film have no idea how to sustain comic momentum in the way Chaplin does.

Nor can they deliver the same emotional wallop. Where Chaplin discovers Jackie as an infant and raises him for five years, Captain Bill finds Jackie already in boyhood and spends perhaps a week with him. The tearjerking scene from "The Kid," where the social workers tear Jackie away from Chaplin, has a weak parallel in this film. And instead of Jackie's wealthy mother seeking him, he is being sought by his wealthy grandmother.

This is still worth watching for one reason: Jackie Coogan. He is just as charming here as he was in the Chaplin film, and just as adept with sentimental scenes and slapstick gags, even if the filmmakers make poorer use of his talents. "My Boy" does have one scene I'll never forget. When Captain Bill puts a sleeping Jackie to bed, the little boy puts his hand on the old man's face. After the Captain covers him up, he takes out Jackie's arm and puts the boy's hand on his face again. What a lovely moment.