Hoyuelos

Stepin Fetchit was at the height of his "fame"(???) in 1936,but for some reason he's unbilled here.

If has-been actor and kleptomaniac Frank Morgan doesn't shape up he's going to lose custody of Little-Miss-Cutie-Pie-you-Know-Who. Luckily,Shirley has melted the heart of a rich old lady(when doesn't she?).

I'm intrigued by Robert Kent as the leading man---I remember him firmly as the murderer in CHARLIE CHAN IN MONTE CARLO(1937).

My DVD has B&W and colorized versions--you might want to watch to "Dixiana" finale' in color;as it is the most elaborate number in the film.

And by the time Shirley finishes her death scene in UNCLE TOM'S CABIN,there won't be a dry eye in the house.

Boy, I really liked this Shirley Temple film the first two times I saw it when I owned it on tape. Then, after a fairly long hiatus, I bought the DVD and didn't find it nearly as entertaining as I had before. Having a poor transfer on DVD didn't help. Subsequently, Fox has re-issued these with much better quality (on those 3-pack Temple collections) but I doubt if I'd re-purchase this again.

Anyway, I still liked all the songs and dances, especially the ones earlier in the film. There are a few more numbers here on than on most of her movies, which is fine with me. Temple is still cute and winsome as ever and there are no evil- nasty villains in here, for a change. Yet, Frank Mogan can be a bit annoying and Stepin Fetchit is just plain aggravating. Fortunately, he has a minor role without much dialog.

In summary, a decent Shirley Temple movie but she made at least a handful of others during this time period that were much better It's still a sad comment there are only six reviews of this. Don't people appreciate this girl's talent? She is a legend.

DIMPLES, a precocious little tot in the New York City of 1850, must decide between life with her penniless but charming rogue of a grandfather & a wealthy old lady who loves her.

Shirley Temple, that pint-sized package of amazing talent & energy, delights once again. Her megawatt smile & boundless vivacity are only the outward manifestations of her unique personality & status which still keeps her - after so much time - Hollywood's greatest child star.

Frank Morgan, who had honed his scene stealing techniques for decades before Shirley was born, plays her grandfather. Given good lines, he was the rare actor who could dominate the dialogue even at the mighty tyke's expense. He is constantly entertaining to watch and adds greatly to the enjoyment of the film. His classic role would come a few years later when he was to portray THE WIZARD OF OZ, over at MGM.

The supporting players all give solid performances, most notably Helen Westley & Berton Churchill. John Carradine & ubiquitous child actor Leonard Kibrick both have small roles. Movie mavens will recognize Stepin Fetchit, unbilled as Morgan's servant.

The romantic subplot, consisting of Robert Kent trying to choose between Astrid Allwyn & Delma Byron, is a dull affair - as is usual in most Shirley Temple films.

Shirley sings `What Did The Bluebird Say,' `He Was A Dandy,' and, with The Hall Johnson Choir, `Get On Board, Little Children'. Although he does not appear in the film, the legendary Bill Robinson choreographed Shirley's tap routines; his influence is readily apparent.

It has to be mentioned that there is quite a lot of racism in the film. It should also be noted that this was not an unusual situation in Hollywood films of the 1930's.

Get ready to see another Shirley Temple vehicle where she's an orphan who melts down a crotchety old man and proves she's "very self-reliant." In Dimples, she gives a pseudo-take on Oliver Twist with Frank Morgan as a pseudo-Fagin. He's called "The Professor" and he runs a gang of homeless kid street performers who sometimes pickpocket. In the middle of the Great Depression, it makes sense to see Shirley as a little Ragamuffin begging on the streets; however, it would feel a little creepy for her to live with The Professor while he leads her down a life of crime - save but one tiny detail that separates it from Charles Dickens's classic: Frank Morgan is Shirley's grandfather.

Included in the plot is Helen Westley, a staple in Shirley Temple movies. She's a wealthy patroness who helps produce a theatrical of "Uncle Tom's Cabin" starring Shirley. As this is such a large focus of the movie and it's performed in blackface, Dimples isn't often a favorite among modern audiences. It's not a favorite of mine because of Frank's character. Oftentimes in Shirley's movies, love is shown to be of greater importance than money (because they were made during the Depression), but in this case, I agreed with Helen's character. Shirley would be better off living a life of luxury than living in a filthy shack begging on the streets, even if it means being parted from her beloved grandfather. In Shirley's other movies, the lovable old man is shown to have some good influence on the little girl, but I couldn't find any from Frank Morgan.

Shirley Temple plays a singing, dancing street urchin in 1850 New York City whose multi-racial music troupe is managed by her pickpocket grandfather (he uses the kids as ruse for robbery); when a rich matron takes kindly to the youngster, the wily grandpa has to decide whether to sell the child for five grand (in the hopes she'll have a better life) or continue living happily together in squalor. Not-bad star vehicle allows Shirley to be more sly and precocious than in some of her other pictures. She stumbles over big words (like 'peneteniary') which seems out of character, though her scene with Mrs. Drew returning a stolen clock is funny ("I'm so wicked, I don't know what's to become of me."). Temple was always goaded into acting like a wise-beyond-her-years wind-up doll, but here she has a more distinct personality, and the director gives her time to think things through. She's still far too choreographed (in both her acting and dancing), but her responses seem pretty fresh, and matching her with Frank Morgan was a good casting move (they play off each other warmly). Interesting subtext about racial equality, as well as some clever material aligning the desperation of 1850 with Depression-era audiences circa 1936. **1/2 from ****