Le Petit Ministre

I have watched this movie twice in the last year, after the BBC unearthed it from some long forgotten vault. There's no question that it seems an oddity, archaic in style, tone and subject matter. But if the viewer can overcome these barriers, and in my case the poor sound quality of the version the BBC showed, it's an involving tale with engaging central performances from the principles (and pretty reasonable Scottish accents too) and fine support from stalwarts such as Alan Hale and Donald Crisp who became well known faces over the next 40 years. What also interests, is that the period the movie was made is now over 3/4 of a century ago, and we see the earlier period of the story (1840's) through the prism of the sensibilities of that era (1930's) a similar distance from our own times. The view of the relationships, between men and women, between people of faith and the church, between individuals and the community identity they are a part of, at first they seemed to be so alien, and then I saw that these are still areas of tension in society, perhaps for ever, and in seeing that, I felt lucky to get a glimpse into history, to two pasts as it were. This is something the 20th century and the invention of cinema are giving us for the first time in human history.

A mysterious & headstrong gypsy girl falls in love with THE LITTLE MINISTER called to pastor in a small Scots village. Soon her influence has him behaving in a most unclerical manner, with repercussions for the entire community.

Although sadly neglected & overlooked, this fine, sentimental film, based on a 1891 novel by Sir James M. Barrie, features excellent performances and superior production values. RKO lavished care & money to get the details just right; it is a fine example of how Hollywood films of the period could evocatively portray other times, other places.

Katharine Hepburn has one of her most fetching roles in the exuberant Babbie. Full of boundless energy & good humor, yet fiercely protective of those weaker & less fortunate than she, Hepburn turns in a beguiling, always entertaining, performance. While there is really no mystery as to the true identity of her character, this in no way hinders Hepburn from continually delighting her expectant audience.

In the title role, John Beal (born James Alexander Bliedung in 1909) had doubtless the best role of his career in this, his second, film. By underplaying his scenes, he holds his own with the vivacious Hepburn. Exhibiting real star quality, it is unfortunate that the good movie roles failed to materialize. Beal did quite a bit of work through the years on the stage and had a triumph in television's THE ADAMS CHRONICLES in 1976. John Beal died in 1997 at the age of 87.

A very fine supporting cast lends depth to the smaller roles: Andy Clyde as the lonely village policeman; Donald Crisp as the local doctor; Reginald Denny as a pompous army captain; Mary Gordon as an elderly indigent; Alan Hale as the community's repentant drunk; Lumsden Hare as a strict & powerful church deacon; Eily Malyon as a member of the aristocracy; Beryl Mercer as Beal's devout mother; and Dorothy Stickney as a fluttery maid.

Mention should be made of Max Steiner's lovely score, which incorporates old & familiar tunes.

A couple of historical notes: the Auld Licht (Scottish for 'Old Light') is mentioned many times in the film. This was the very conservative Church of Scotland, or Presbyterian Church in America, which had the allegiance of a majority of the Scots people. Barrie's original novel was of the Kailyard (Scottish for a small cabbage patch near a cottage) School of writing which had great favor in Scotland in the late 19th Century. This style featured highly idealized & sentimental representations of Scottish village life. Thrums in THE LITTLE MINISTER would certainly be a prime example.

Its tender sentimentality is out of fashion today, of course, and has been for decades. But that's the point -- and that, for me, is the beauty of this film: it's positively luminous with an innocence and understated nobility that put our postmodern "edginess" to shame. I have to wonder if we've lost the capacity to experience and appreciate such rarefied sweetness of feeling. A sadly neglected film, with one of Katharine Hepburn's incomparable early performances -- radiant, charmingly quirky, and more emotionally expressive than a dozen Garbos. Sad, too, that co-star Robert Beal never crashed into the upper ranks of stardom; I saw tremendous potential in that performance.

Very rarely was Katharine Hepburn cast as the Scot she was by descent. Our most popular image of her was with that clipped Bryn Mawr accent, cool, elegant, and sophisticated. She only played two Scots in her life Queen Mary Stuart who if truth be told was more French than Scots and the gypsy waif in The Little Minister.

This was certainly an unusual project for Kate requiring her to adapt a Scottish burr to her speech. She also plays the mysterious gypsy girl who stirs the elders of that Presbyterian congregation more than they realize. She certainly stirs the new minister in town, John Beal who's come to live there with his mother Beryl Mercer.

In an odd way Kate's character of Babbe is like the ditzy heiress in Bringing Up Baby, wreaking havoc wherever she goes, but charming Cary Grant as she does John Beal here. If James M. Barrie had twisted the plot in a Somerset Maugham direction, Kate's Babbe could easily have been a Scottish Sadie Thompson. Turn that one over in your mind.

But she's a lot more than she seems as Beal and the rest eventually find out. Beal does well as the earnest young man in his first parish, trying hard to do the right thing, but hormones just seem to be getting in the way. They'll do that. Good thing Kate was not a Sadie Thompson character.

The Little Minister is based on a novel by James M. Barrie about an unfamiliar time for Americans. I'm sure the film did well in the British Isles for RKO where they would have been more familiar with the history and mores of the time. Still it's an unusual part for Katharine Hepburn, her devoted fans would be the first to agree.

It's 1840 Thrums, Scotland. Gavin Dishart arrives with his mother to be the new Minister in the rural town. The town is impressed with his righteous talk. Babbie (Katharine Hepburn) is a cunning irreverent gypsy and there is a town ban on the gypsies. She pranks them by inciting a revolt against imaginary troops and then the real soldiers arrive. At every turn, Babbie is able to trick Gavin until finally, he is able to proclaim his love for the gypsy.

It's silly that Hepburn is playing a gypsy and she is dressed like the most stereotypical gypsy. It is saved by her shear playfulness and the eventual explanation of the truth. Initially, she's the cat and Gavin is little more than her play thing. That's kinda fun. She broadly play acts and he falls for it every time. It turns into a romantic melodrama and she makes it work.