Kleines Mädchen, großes Herz

One of the enduring classics from MGM came out in the closing years of World War II, it's the film that made young Elizabeth Taylor a star. She had done a few films as a child actress before National Velvet, but when it came out her place in the movies was assured. Ironically enough biologically she'd be growing up fast enough after National Velvet was out and her next struggle as an actress was to get substantial adult roles because casting directors only saw her as innocent little Velvet Brown who loved her jumping horse.

I'm not sure of how this would work because steeplechase horses have to have confirmed bloodlines and the Pi's are a subject not dealt with in National Velvet. All we know is that he's a reckless and untrainable horse in the hands of Reginald Owen and after he breaks free and causes considerable damage, Owen gets rid of him for a nominal price to the local butcher Donald Crisp.

At the same time as these things are happening, Mickey Rooney comes wandering into the lives of the Brown family which consists of Crisp, wife Anne Revere, and daughters Angela Lansbury, Juanita Quigley, and Elizabeth Taylor and their little brother Butch Jenkins. Rooney is a former jockey who's now on the open road and heading for the Brown family where his father was once a horse trainer for Anne Revere's family. It's he who sees the potential of the Pi (short for pirate) as a steeplechase jumper and it's Elizabeth who convinces Crisp not to pass up this chance.

Elizabeth Taylor was so sweet and innocent in National Velvet. The Good Book says you have to have faith like a child and she has it to spare. She infuses Rooney with it, to have faith in the heart and ability of the Pi and to leave a little over for himself.

Anne Revere won a Best Supporting Actress Award for National Velvet. She's a very wise mother who has hidden depths to her that the audience doesn't suspect. It turns out that back in her youth she had a taste of fame and glory swimming the English Channel and her prize money, saved all these years, she gives to her daughter. That scene is probably what won her the Oscar. National Velvet also won one other Academy Award, for Film Editing.

Over 60 years after it made its debut National Velvet as a family classic hasn't lost a thing. Its depiction of life between the World Wars in Great Britain is still a standout. And National Velvet launched a movie legend. Can't do much better than that for high regard.

Yes. Indeed! - Regardless of National Velvet now being 70 years old, this entertaining, heart-warming tale about trust, personal victory and following one's dream is, without a doubt, an endearing, MGM classic that can be enjoyed by the whole family.

With an excellent cast, headlined by Elizabeth Taylor (12 at the time), Mickey Rooney, and Anne Revere, National Velvet's story is a rather charming "horse tale" that jauntily crosses the finish line as a bona-fide winner.

This lush, Technicolor treat (which was adapted from Enid Bagnold's novel of the same name) was set in the 1920s (in England) in the rural, coastal county of Sussex.

A real stand-out performance in this first-rate picture was that of Anne Revere (who played Velvet's mother, Araminty Brown). Revere won an Oscar for her "Best Supporting Actress" role.

I certainly recommend National Velvet highly to anyone who truly enjoys a big, wholesome slice of vintage, Hollywood movie-making.

A sentimental, heart-tugging family film set in England of the 1920s. A young Elizabeth Taylor wins a horse in a raffle and decides to enter him in the Grand National; fortunately, ex-jockey Mickey Rooney is around to give Liz some help. Director Clarence Brown displays some remarkable control with material that could've been excessively maudlin in someone else's hands. He and screenwriters Helen Deutsch and Theodore Reeves take great care in establishing genuine characterizations and developing the story naturally. True, there are one or two scenes that seem a bit forced, but overall it's quite affecting, and gorgeously filmed in Technicolor. The race itself is quite thrilling, and like so many great classics, there's a marvelous, three-hankie fade-out at the end. Liz proves that she was a real trooper right from the start, and Rooney--who I usually find rather annoying--is surprisingly subdued and really very good. Donald Crisp is terrif as Liz's gruff father and Angela Lansbury is a delight as her older, boy-crazy sister. Most of the acting kudos, however, belong to Anne Revere, who won a richly deserved Supporting Actress Oscar playing Liz's wise and caring mother.

I watched National Velvet ages ago, before Elizabeth Taylor ( who plays the jockey) befriended Michael Jackson. Anyway, I remembered this movie because of Rachael Blackmore's historic achievement in 2021 to be the first woman to win the Grand National. Art and life and all that, well done to everyone.

A lot of directors have broached childhood:Truffaut,Bunuel,Pialat,Comencini,Loach ,but no one did it as Clarence Brown used to do:his world is a rosy one ,a protected one where any dream can come true if you believe in it.Not realistic?Not that much :take "the yearling" for instance:the young hero's pal's death is not passed over in silence but Jody did tell him and us that somewhere in Heaven there are prairies full of coypus.In "National Velvet" ,the mother ,quoting the Book of Ecclesiastes ,tells her daughter that there's a time for everything,even a time to die.

Colors display something magic,closer to fairy tales than to a realistic story:this small town,with its colorful characters,its school where the teacher loves all of her students whom she's going to miss during the long holiday,its butcher's shop.The heroine's parents own it and their house suffuses with understanding,tenderness and love.The race is ,as far as Velvet is concerned , entirely implausible ,but it's nicely filmed.

A top-notch cast cannot fail to win over the audience:the couple Anne Revere/Donald Crisp are parents every child dreams of;Elizabeth Taylor has always been an underrated actress,to think that about 20 years later,she would be Martha in "who's afraid of Virginia Woolf?"!;Mickey Rooney 's pouty mouth and sullen expression avoid pathos and melodramatic effects.And there's also a young Angela Landsbury,long before "murder she wrote" ,on the threshold of a brilliant career.

It may not appeal to Today's children ,who got used to special effects and action-packed stories.But for the adults who've still got their child's soul,it's a true delight.