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WEE WILLIE WINKIE (20th Century-Fox, 1937), directed by Academy Award winning John Ford, stars Shirley Temple in possibly her most prestigious film of her career. Capitalizing on the current trend of military themes as THE LIVES OF A BENGAL LANCER (Paramount, 1935), THE CHARGE OF THE LIGHT BRIGADE (Warners, 1936), and later the most popular, Rudyard Kipling's GUNGA DIN (RKO, 1939), WEE WILLIE WINKIE, also authored by Kipling, fits well into this category. In spite of Temple's presence, high production values, fine support of Academy Award winning actor Victor McLaglen (RKO's THE INFORMER, 1935), and a well-scripted but leisurely-paced screenplay (by Ernest Pascal and Julian Josephson), WEE WILLIE WINKIE comes close to being overlooked item from cinema history.

With Temple's previous screen efforts typically casting her as an orphan or child of a widowed parents who occupies screen time solving problems with feel good intervals of song and dance, WEE WILLIE WINKIE is a welcome change of pace. While Temple doesn't have any real musical interludes, she does acquire one heartfelt moment worth mentioning where she sings "Auld Lang Syne" to a dying soldier. Of her two 1937 releases, HEIDI, based on the literary work by Johanna Spyri, appears to be most admired mainly because it gears mostly towards the interest of children while WEE WILLIE WINKIE appears to be more of a story for adults. Being the longest (99 minutes, though road show version was reportedly at 105 minutes) of Temple's feature length films of the 1930s, WEE WILLIE WINKIE contains more ingredients of a John Ford movie than Temple's. Regardless, the chemistry of both blends in nicely into the scenario. Temple would work under Ford again in FORT APACHE (RKO, 1948) with McLaglen in the supporting cast.  

Plot summary: The year is 1897. Joyce Williams (June Lang), a young widow unable to support herself and her daughter, Priscilla (Shirley Temple), in America, are sent by her father-in-law, Colonel Williams, to live with him on his British Army Base. Arriving by train to Raj Pore station in Northern India, they are greeted by Sergeant McDuff (Victor McLaglen) to escort them via coach to their destination. Before departure, Priscilla witnesses the arrest of Khonda Khan (Cesar Romero), the rebel leader responsible for the smuggling of guns belonging to her grandfather's regiment. Having dropped his sacred charm, Priscilla runs over return "the necklace" back to him. Khan, dangerous and handcuffed, shows gratitude towards this "strange child" as he is taken away by authorities. During her stay at the post, Priscilla meets Branders (Michael Whalen), a young lieutenant she calls "Coppy" (whose hair, as she described, shines like a copper penny). Feeling her grandfather (C. Aubrey Smith) doesn't like her McDuff, at Coppy's request, shows Priscilla the procedures on becoming a good soldier. Providing her a junior-sized uniform, much to the dismay of drummer boy, Mott (Douglas Scott), McDuff renames his little soldier, "Wee Willie Winkie." With an uprising leading to the prison escape of Khonda Khan and the death of Sergeant McDuff, war is officially declared, causing "Wee Willie Winkie" to try and make peace before any more men are killed.

While Temple dealt with grumpy grandfathers before, Lionel Barrymore being her best encounter in THE LITTLE COLONEL (1935), C. Aubrey Smith fits the bill as her military-minded grandfather with little time for his grandchild. Cesar Romero, believable as Konda Khan, gives a remarkable performance. He would assume another recognizable, but less threatening role, opposite Temple once more in THE LITTLE PRINCESS (1939). Military formation and the lives of British soldiers take precedence over the romantic subplot between June Lang and Michael Whalen that has been kept to a minimum. Others in the cast include Constance Collier (Mrs. Allardyce); Lauri Beatty (Elsa Allardyce, her daughter); Willie Fung (Mohammed Dihn); Brandon Hurst (Bagby); Lionel Pape (Major Allardyce); Mary Forbes (Mrs. MacMonachie), and John Ford regular, Jack Pennick, as one of the soldiers.

A successful film in its day, WEE WILLIE WINKIE was later reissued at 77 minutes, the print most commonly used on commercial television prior to 1985. It wasn't until around 1987 when WEE WILLIE WINKIE was available close to its theatrical length when distributed on home video. In recent years, the 99 minute version became available on numerous cable stations, including The Disney Channel (colorized, 1990s); American Movie Classics (1996-2000), The Fox Movie Channel and Turner Classic Movies (TCM premiere: July 13, 2015). It's availability on DVD contains the choice of both colorized and black and white formats.

While Temple may seem to be an unlikely candidate on a military base in far away India wanting to become a good little soldier, she's certainly one who hasn't lost her appeal in the rank as "Wee Willie Winkie." (***1/2)

Rudyard Kipling's story serves as the basis for this excellent John Ford film. Mr. Ford, one of America's best directors of all times, got probably a fantastic budget to get this movie made. It paid well as we are given a great account of Mr. Kipling's novel by the man who knew about how to make movies come alive.

This was obviously a Shirley Temple vehicle. Ms. Temple was one of the best child actress of all times. Whenever she is in front of the camera, this little girl has a way of stealing the viewer's heart. In all the films we have seen, this seems to be her best, and in fact, Ms. Temple always speaks about her fond memories about this movie.

Of course, this film wouldn't have worked the way it did, had it not been by the amazing performance by Victor McLaglen, who as Sgt. MacDuff, befriends the little girl that has come to live at the headquarters where he is serving. His roughness are tamed by the love he feels toward young Priscilla.

John Ford got excellent performances from everyone, but of course, Shirley Temple and Victor McLaglen run away with the film and our admiration. C. Aubrey Smith, the distinguished actor makes a great appearance as the Colonel in charge of the outpost in India. Cesar Romero is also good as the rebel Khoda Kahn. June Lang plays Priscilla's mother and Michael Whalen is "Coppy", the man who falls for the young girl's widowed mother.

This is a film that will delight anyone, young or old, because it is a timeless classic, thanks to John Ford.

"Wee Willie Winkie" is a very, very schmaltzy film. In addition, it is one of many films of this era that strongly reinforced the notion that British imperialism was wonderful (as an American, I never understood why we make pro-imperialism films like this, actually). So, for those two reasons I should hate the film...but I just couldn't.

The film begins with a mother and daughter (Shirley Temple) arriving in India to live with the child's paternal grandfather--who is the Colonel in charge of a Colonial regiment (circa about 1890). It seems that the child has never met the old man and the pair have come there because they are destitute. For the mother, adjusting to India and the loneliness of camp life is tough, but for perky little Shirley, it's a snap. She is seen as a sort of regimental mascot. And, I must say that the child was freakin' adorable dressed up in a cute little uniform.

Everything seemed pretty cool (except for the mother) until the wicked Khoda Khan (Cesar Romero) escaped custody. This villain had the effrontery not to want to become 'civilized' and a loyal subject of the Queen (sarcasm intended)! And, when little Shirley is abducted and taken to him, things look pretty grim. After all, the British just want to be their friends (and enslavement, but that's only a trifle).

All this is packaged in a very attractive sepia-toned package. Some of this is due to Shirley's amazing acting, some is because the film was directed by the king of sentimental films, John Ford. And, some was because of Victor McLaglen's wonderful portrayal of the Sergeant and C. Aubrey Smith as the Colonel. Overall, despite its faults, the film is hard not to like and it is exceptionally well made.

By the way, it was very strange seeing Willie Fung in this film. Not only did he usually play a Chinese man (as he was of Chinese origin) but instead of the rather dim but affable sort, here he plays someone quite evil and blood-thirsty! For fans of old Hollywood films, this should come as a bit of a surprise.

Wee Willie Winkie is quite an interesting mix of a film, combining the seemingly disparate talents of Rudyard Kipling, John Ford, and Shirley Temple in one film. The very British Mr. Kipling and the very Irish Mr. Ford is odd enough right there.

But when all is said and done it's a cavalry picture, just like Fort Apache, She Wore a Yellow Ribbon, and Rio Grande. The same rough house monkeyshines among the troops, the same tribute to regimental tradition and of course the same Victor McLaglen. All military units for Ford are the same, be they the Scotch Highlanders posted to India or the Seventh Cavalry fighting the Indians.

Little Shirley and her mother June Lang go to live with Shirley's grandfather, C. Aubrey Smith, colonel of a regiment on India's northern frontier. He's a spit and polish soldier of the old school, but like she does in all her films, the little moppet melts the old guy.

But she does more than that. She also gets into the heart of bandit chief Cesar Romero who probably gives the best performance in the film. He's a warrior chief fighting for his people, but he's light years removed from the terrorists of today. Since Shirley is the only one on speaking terms with Smith and Romero, she stops a frontier uprising as well.

Wee Willie Winkie will not go down as one of John Ford's greater films, but it's decently entertaining enough. And I'm sure he didn't care about filming a Kipling story because with Shirley Temple in the lead it was going to make money.

This was okay but Shirley Temple made enough better movies that this wasn't a "keeper"in the end. I still have at least a half dozen of her other films which, I thought, were far more appealing.

They were also shorter, too. At 100 minutes, this is too long a movie for the normal Temple fare. It was her longest movie as a child actor. The major fault, which also involves the time, is that is simply wasn't that interesting.

It has its cute moments as all Temple films did and the cinematography was good. The fact John Ford directed it may have something to do with the better-than-average photography. I also enjoyed Victor McLaughlen in here. He played the best character.

India - the 1890's - the North-West Frontier. Precocious young Priscilla arrives with her widowed mother to live with the grandfather they've never met, a stern old Army Colonel. Gaining the nickname of Private WEE WILLIE WINKIE, the little girl quickly charms nearly everyone around her, including a tough Scots Sergeant. But it is her influence with the local bandit chief that portends the greatest impact on all their lives.

This was arguably Shirley Temple's finest film. It is certainly her most lavish. Fox & director John Ford fashioned a mini-epic with great atmosphere and much to please family viewers. The detailed sets & huge cast of extras do the picture proud.

Shirley is wonderful, as usual, in her own unique way, but this time she has a couple of co-stars that can hold their own with her. Victor McLaglen is every inch the embodiment of a bluff British sergeant - and well he should, given his real-life background as a boxing champion and Provost Marshal of Baghdad. Gruff & tender by turns, he gives an unforgettable performance. As Shirley's grandfather, marvelous old Sir C. Aubrey Smith gives another sterling portrayal as the archetype of the colonial officer class - crusty & domineering.

The rest of the cast is equally enjoyable: Cesar Romero as the chieftain; June Lang & Michael Whalen as Shirley's mother and her new lieutenant friend (fortunately their romance is unobtrusive); Willie Fung as the giggling, treacherous house boy; and Constance Collier as the waspish wife of a brigade officer.

Shirley Temple stars in this 1937 adaptation of Rudyard Kipling's tale directed by all people John Ford (Stagecoach/The Searchers). Temple along w/her widowed mother head to India to reside w/her grandfather who commands British troops during the late 1800's when the Brits were called in to quell the hostilities amassing in her satellite colony. No sooner does Temple arrive in town does she cross paths w/the army unit's enemy number one, played by future Joker on TV's Batman, Cesar Romero (he gets arrested for being in possession of arms). Temple is cute, precocious & unrelenting as she tries to melt the stern demeanor of her fellow inductees eventually gaining favor w/a noncom played by Ford regular, Victor McLaglen. W/the majority of the narrative episodic (showcasing those cute curls & that plucky attitude), the film goes into a tense last third when Temple is tricked into being a hostage (held by Romero who has escaped) so that her grandfather will capitulate to his demands but Temple's sheer good will conquers all comers but Ford wisely doesn't let the moppet overwhelm the proceedings by letting his own sensibilities in.

Shirley Temple and mother are traveling to India to see grandfather in this John Ford movie based on a Rudyard Kipling tale. In fact, in most of the Shirley Temple movies, she is the main focus of the film. Here, she is one of many, due to the exceptional talent that went into the making of this film. There's director John Ford's touch that usually makes gold. There's Victor McLaglen, one of John Ford's more frequent actors. There's the colorful and versatile Cesar Romero as a supposed villain here, who also costarred in "The Little Princess." And lastly, there's the locale of India, which seems to be the real star of this film. The mood, the shadows, the direction of Ford all tell a story besides the actual plot and dialogue. McLaglen is a stern officer, but then he meets and befriends Shirley. And, Shirley get embroiled into the war between the natives and the officers, when they think she has been kidnapped. The end result may be somewhat predictable, but the journey is a very different one than most Temple films. Although she is the title character, she just happened to be cast in this John Ford production. And, what a production! Along with "The Little Princess," this has to be one of the best films she ever made. I wanted to watch this over, once I finished it. A true testament to a great film!

Wee Willie Winkie was Shirley Temple's favorite role as a child star, and it's no wonder. It's the only movie she didn't have to "sparkle", as her mother would coach. No singing, no dancing, and she got to wear trousers and play rough and tumble with the boys. Unfortunately, for her fans, the singing, dancing, cute dresses, and "sparkle" are what we loved best about her movies.

If you want to see her in a different type of role, though, you'll be very pleased with this one.

Her other trademark is to soften the hearts of gruff curmudgeons. C. Aubrey Smith is Shirley's grandfather in this movie, and a very strict military man. Shirley adores the British Army and quickly becomes the mascot of her grandfather's unit, thanks to Sergeant Victor McLaughin. The more she witnesses of military life, the more she learns. Cesar Romero, an Indian rebel leader, is captured. Shirley wants to get involved in the peace negotiations, but C. Aubrey prefers she stays in her place. Do you think the wee girl's smile and common sense will save the day? Watch this drama to find out.

Surprisingly great John Ford film starring Shirley Temple. I was unsure if I could stand her cuteness for an hour and forty minutes, but I was never as annoyed as I expected to be. She's actually quite - good (I'll probably never live that down, will I?).Once in a while, she got a bit cloying, but for the most part I enjoyed her performance. Believe me, though, John Ford and his screenwriter were careful to balance her with the rest of the film, which is indeed quite masterful. All of the other performers are pitch perfect, including C. Aubrey Smith, Cesar Romero, Michael Whalen, Constance Collier, June Lang, and especially Ford regular Victor McLaglen. He's amazing, as always. The story, based on a Rudyard Kipling book, is very good. Lang plays Temple's mother. Her husband has apparently died, and she accepts the gracious invitation of her father-in-law (Smith), a colonel in India, whom she has never met. While there, Temple becomes a sort of a mascot of the soldiers, with Sgt. MacDuff (McLaglen) taking care of her and teaching her how to be a soldier. Another soldier (Whalen) courts Temple's mother. Cesar Romero plays Khoda Khan, a bandit prince who is being held prisoner in the fort. Ford's direction is as exciting as ever, and the cinematography is halfway between the expressionism of The Informer and the naturalism of Stagecoach. The musical score is also quite good. One might object to the colonialist viewpoint of the film, but, to be fair, Wee Willie Winkie is a lot more palatable in that respect than George Stevens' much more famous Gunga Din is. 9/10.

I'm pretty sure this is the first Shirley Temple movie I've seen where she was her iconic child self, and I can see the easy appeal she must have had on the masses in the 30s. She was a precocious, adorable child with a surprising amount of ability at such a young age. Paired with John Ford in this adaptation of a Rudyard Kipling story about a young boy (changed to a girl in the film) who goes to India to live with her grandfather, a British colonel, and her efforts to become a little soldier, Temple has time to shine in her scenes, especially those she shares with Victor McLaglen. The movie as a whole, though, is less entertaining. More of a series of moderately entertaining vignettes than an actual story.

Priscilla (Temple) and her mother Joyce (June Lang) arrive in India by train to live with Joyce's father-in-law, Colonel Williams (C. Aubrey Smith). Met at the station by Sergeant MacDuff (McLaglen), they quickly witness the arrest of the noted war chief Khoda Khan (Cesar Romero). They make it to the fort where Williams awkwardly meets the two women he barely knows but has agreed to house for their lack of income back in England. Joyce meets Coppy (Michael Whalen), a lieutenant on the wrong side of Williams and the two immediately strike up a romance through deep looks that we know will end in marriage by the end.

The movie sets up some predictable pieces from the beginning, and it does not fail to deliver on the promises of those early setups. Priscilla is going to soften the hard heart of Williams. Joyce and Coppy are going to fall in love. The rich older woman who has designs on Coppy for her own daughter will be humbled by the end. The precociousness of Priscilla will bring about joy and happiness throughout the land. It's pretty stock stuff, and its success really hangs on the execution of the smaller moments along the way. Most of it remains stuck in stock levels without ever raising above it, but one where it does is in the relationship between Priscilla and MacDuff.

Coppy, probably because he thought it was funny, decides that MacDuff should carry out Priscilla's wish and help to train her as a soldier. She gets a small soldier's uniform, complete with kilt and wooden gun, and starts doing drills with the men. She's a mascot of sorts, and they all love her because this is a Shirley Temple movie and she must win over everybody. With MacDuff there's something special, though.

Victor McLaglen might end up my favorite John Ford actor because he's actually really very good. His scenes with little Temple are surprisingly sweet as she softens the hard heart of the battle-tested sergeant. They bond, partially using a picture of MacDuff as a baby, and when things turn surprisingly down later in the movie, Temple plays the sense of loss Priscilla feels really well. She was a quality actress at such a young age.

What little plot the film has is about Khoda Khan escaping from custody, retreating to his mountain fortress, and preparing a new attack on the English position. There is one battle (at night, done with heavy blue tinting which was something I thought had gone out of style at the end of the silent era), brought on by a spy whom Priscilla naively trusts to take her to Khoda Khan so she can just sit down and talk sense into him, showing him that he and her grandfather just want the same thing for India. When Williams finds out, he marches out his whole force to get his granddaughter back. Williams' march up the perilous stairs is actually a wonderful moment, a demonstration of tough, grizzled manhood in the face of real danger as Khoda Khan's men fire at him and barely miss while Williams refuses to hide or stay his course.

The relationship with MacDuff is the best of the film, but the rescue of Priscilla, bloodless and warmly felt as it is, is a nice second place. The rest of the movie around it feels like just a bunch of events thrown in to pad the running time. The bitter old woman who ends up hating Priscilla's dog goes just this side of nowhere (the event getting Priscilla her dog isn't much better). The romance between Joyce and Coppy, which feels like, at the beginning, to be the B-plot of this kids movie in order to help the mothers more bear the overall film they're taking their children to, ends up largely sidelined, only popping up quickly on occasion. The overtly naïve ending as well feels nice in the moment but ultimately feels kind of unrealistic upon reflection, but that's not what Shirley Temple movies were really for. They were for light entertainment starring a precocious and talented child.

In that vein, it's a moderate and slightly diverting effort.

It's 1897. Widower Joyce Williams and her young daughter Priscilla (Shirley Temple) arrive in northern India to live with her hard-nosed and distant father-in-law Colonel Williams. They are met by Sergeant Donald MacDuff at the train station where rebel leader Khoda Khan is captured with a load of guns. MacDuff gives Priscilla the nickname private Winkie.

The pairing of Shirley Temple and director John Ford may seem oddly ill-fitting. In a way, America's darling and America's western director have their sincerity in common. They are both Hollywood professionals. While Shirley Temple does her comedic cuteness, Ford surrounds it with something slightly gritty. It's still an odd mixture but it's a fascinating mixture. It has Temple's supreme childlike optimism while maintaining shades of reality. Quite frankly, this could be her best 'film'.

A widow (June Lang) and her young daughter (Shirley Temple) arrive in the Indian North West Frontier to stay with her Britsh uncle father-in-law (C. Aubrey Smith), a colonel in the British Army. The young girl soon makes a positive impression on all those she comes into contact with, including the warring Khan (Cesar Romero).

Apparently "inspired" by a Rudyard Kipling, this colonial family film is one of Temple's best vehicles and most charming films, surprising from macho director John Ford who didn't like working with children. Ford regular McLaglen and Temple work particularly well together. There's plenty of action too, even if some of the film's politics are somewhat dubious.

Not her best but still very good. James Welch Henderson Arkansas 7/2/21.

No better combination than that, and add Auld Lang Syne, and that's what you call a classic.

10 Stars.

WEE WILLIE WINKLE will entertain everybody in the house, and the most elaborate of Shirley's movies, filmed at Fox's sprawling ranch in Chatsworth, California, deep in the hot San Fernando Valley. John Ford, who invented the sprawling western, without question gets the most out of this cast, of course with one of his regulars, Victor MacLaglen. He plays the crusty colonel who befriends Shirley and her widowed mother (played by beautiful June Lang) at a desert outpost. This was Lang's second film with Temple.

MacLaglen and Shirley make one terrific team, and thanks to Ford, share some classic scenes together. At first, Ford was not that keen about working with Shirley, but when he saw her professionalism on the set, particularly in a key scene when MacLaglen passes, he was hooked. He and Shirley became life long friends.

A military salute also to craggly C. Aubrey Smith, playing Shirley's stern grandfather, and what a team they make as their relationship evolves. Interestingly, production notes indicated executives at Fox wondered how long they could "stretch" Shirley into playing pre-teen roles, including her part in this production. For the time being, they had little to worry about. Handsome Michael Whalen is reunited with Shirley, playing Coppy, the dapper, young soldier this time instead of her father -- although falling in love with her widowed mom would kind of make him a pre-step dad. Whalen, in later years, commented that Shirley was the best actress he had ever worked with, regardless of her age.

Caesar Romero is fun to watch, certainly a master of makeup and disguises. This role may have lead to his mysterious characterization in CHARLIE CHAN AT TREASURE ISLAND (1939). Ford followed this up with the grandfather of disaster movies, THE HURRICANE (1937).

For movie buffs, see if you can spot the background sets used in the CHARLIE CHAN and MR. MOTO series, also produced by Fox. Forever and a day on dvd and blu ray for all of us devout Temple and Ford fans. Thanks much to MOVIES Net for running this super oldie lately. A treat on Christmas Eve.

Showcase for Shirley Temple, produced on a much grander scale than most of her vehicles, has the feisty youngster and her newly-widowed mother traveling to war-torn North India in the late 1800s to live with Shirley's estranged paternal grandfather, a colonel stationed with the British Army. Loosely adapted from a Rudyard Kipling story, with some exciting set-ups and sequences at the outset; but, sadly, the picture runs out of intriguing ideas before the finale. Director John Ford seems to lose track of the supporting characters in an attempt to resurrect the typical Shirley Temple scenario, although Cesar Romero is well-cast and memorable as Khoda Khan. Handsome, to be certain, but not one of the diminutive star's better efforts. ** from ****

The last thing director John Ford wanted to do was to direct a child actor in June 1937's "Wee Willie Winkie." He cringed when he got the call from Twentieth Century-Fox studio head Darryl F. Zanuck, who said, "I'm going to give you something to scream about. I'm going to put you together with Shirley Temple." The director nearly dropped the phone, later saying "My face fell atop the floor." Despite his misgivings, he agreed to take the helm of the Rudyard Kipling-based story mainly because its big budget. Ford selected his friend, Victor McLaglen, to play Sergeant Donald MacDuff, stationed at a British outpost in India.

By all accounts, Ford was initially cool towards Temple, the studio's most valuable commodity. The director was in the habit of telling his actors the scenes he was about to shoot in a broad brush manner. But with Shirley, he verbally unfolded each scene she appeared in excruciating details as to what he expected, not trusting the girl to ad-lib her dialogue or mannerisms. When it came to an emotionally-packed but subtle death scene of Sgt. MacDuff, Temple is seen singing 'Auld Lang Syne' to her friend. The director first sat silently after the take while several of the film crew members wiped their eyes. Then, Shirley recalled, "Ford came over and put his arm around my shoulder. My grief had come across with perfect restraint, he said. When the cameras had stopped, McLaglen raised on his elbow and placed one massive hand over mine: 'If I wasn't already dead,' he said, 'I'd be crying too.'" From that day forward, Ford had a newfound respect for Shirley.

Zanuck didn't want to make a typical Shirley Temple film, saying, "My idea about doing this picture is to forget that it is a Shirley Temple picture. All the hokum must be thrown out. The characters must be made real, human, believable. And it must be told from the child's viewpoint, through her eyes." Her character is central to the story. She and her poverty-stricken mother, Joyce Williams (June Lang), are invited to stay with their father-in-law, Colonel Williams (C. Aubrey Smith), at a military outpost in northern India after her husband died without money. En route to the fort, Priscilla 'Winkie' (Temple) recovers a necklace of Khoda Khan (Cesar Romero), chief of a tribe of freedom fighters. When MacDuff is seriously wounded during a patrol, Winkie is determined to end all this fighting and make peace between the two warring factions.

Film reviewer Alan Bacchus reminds us of the power Shirley wielded on the screen. "It's impossible not to love Shirley Temple's exuberant energy," Bacchus wrote. "It's easy to see why Temple is often credited with 'getting America out of the Depression.' She's a shining beacon of light which passes through the darkest of situations." Her negotiating skills in "Wee Willie Winkie" between Khan and her grandfather carried over to her adulthood when Temple served as United States Ambassador to Czechoslovakia appointed by President George H. W. Bush in 1989. Actress June Lang was hesitant in one scene where she has to spank Shirley, the only time the child was ever physically punished on screen. Lang felt her career would be ruined if the sequence ever made the final cut, so popular was Temple. Thankfully for her, studio executives felt the same way, and snipped it from the movie.

"Wee Willie Winkie" has been lauded for its exciting visuals. Said film reviewer Andrew Pragasam, "As always with Ford, the action sequences are thrilling, full of cracking stunts and snappy editing." Before shooting one scene, Shirley refused Ford's offer to get a double in her place while she climbs up some boulders while stampeding horses are galloping close to her. Actor Romero respected the girl's bravery. "She wasn't a spoiled brat at all," he sang in praise. "She was also very smart, always knew her lines and yours too. If you blew a line, she'd tell you what it was."

For the adult Shirley Temple, "Wee Willie Winkie" was her favorite movie she appeared in. "It was best because of daredevil stunts with snipers and stampeding horses," she said. "It was also best because I finally seemed to earn the professional respect of someone so blood-and-thunder macho as Ford." The director and the actress remained life-long friends well after filming wrapped. When Temple delivered her last child, a girl Lori, in 1954, she named Ford as her godfather. Lori later played for the rock group the Melvins.

"Wee Willie Winkie," a term derived from a 19th-century Scottish poem about going to sleep, was nominated by the Academy Awards for Best Art Direction.

When director John Ford got this assignment, he was not too thrilled about working with a little girl as the lead actress. But when they started shooting, he was completely impressed by her acting chops, dedication to the film and bravery. Once scene called for her to run out of the way of stampeding horses. Naturally, Fox told Ford to use a stand-in, but when Shirley found out, she told Ford that she could do it herself. She did, and that totally won Ford over. By the way, the kid could really act!