Mes petits

Has there ever been another Hollywood story quite like Marie Dressler's?

Is it even imaginable that in today's world an overweight, late middle age, and let's face it -- not very attractive -- woman could be the number one box office draw among movie audiences? But that's exactly what Marie Dressler was for two years running in the early 1930s. She won an Oscar for the 1931 film "Min and Bill" and received her second and last nomination for "Emma," the story of a nanny in a wealthy household who marries the father years after the mother has died in childbirth, and then sees the children turn on her when they become jealous of her inheritance. It's a short film (about 70 minutes or so) but nevertheless packs in a lot of plot. It covers decades and manages to work in a murder trial among everything else, and still manages to have moments that feel like padding. Poor Dressler is really put through the ringer. Everyone she likes best ends up dying, and she never gives us the catharsis we are begging for, which is to see her punch the spoiled brat children who accuse her of murdering their father in the face. No, Dressler stays good and true, choosing to see the best in them and never thinking of herself.

Dressler is a bit of an acquired taste. I found her Oscar-winning performance in "Min and Bill" to be tiresome. She mugs and grimaces, and that film gave her several "comedy" bits that were played up in an exaggerated, yuck-yuck vaudeville style. "Emma" has a couple of those moments as well, but overall her performance in this is much more varied and nuanced. I can see why she seemed unique at the time. So many actors in early sound films planted themselves in place on the movie set and delivered their lines like they were reading them off of cue cards. They didn't seem to be able to both move and speak at the same time. But Dressler is always doing something while she's talking -- she fidgets and dithers, and when she's not delivering actual lines, she's muttering and ad-libbing.

"Emma" is certainly guilty of being one of those sentimental melodramas so popular at the time, but for all that it does have some emotional force, and I found myself lingering over it for a little while after I watched it. There's a scene in which Emma walks through her house seeing the ghosts of the young children that once were, before they all grew up to be vile adults. It's a bit corny, but also strangely moving, and the whole movie is kind of like that.

Grade: B+

I saw "Emma" as a child over 50 years ago. I only remembered three scenes in it and never knew the names of the stars or the name of the film, for that matter.

Thanks to IMDb, I was able to go on one of the message boards and find out the name of the film and that the star "who was a Marie Dressler type" as I recalled was indeed Marie Dressler (what instincts I had, even in childhood).

I was just able to actually see the film on TCM. I'd love to know why it is we remember certain phrases and scenes growing up - the parts I remembered in "Emma" were exactly as I recalled them.

"Emma" is the story of a housekeeper who cares for a motherless family, actually raising the youngest, Ronnie (Richard Cromwell) when his mother dies in childbirth. The entire family is very dependent upon her.

Mr. Smith (Jean Hersholt) over the years becomes very wealthy as an inventor, so his kids grow up in wealth and, with the exception of Ronnie, become horrific, ungrateful brats. Emma, of course, thinks they're wonderful and is blind to their faults.

When Emma leaves for her first vacation, Mr. Smith accompanies her to the station, buys an extra ticket for Niagara Falls and proposes. The two enjoy their time there, but it's to be their only time as man and wife.

Mr. Smith's chronically bad heart gives out, and he dies. All of his money is left to Emma with the proviso that she take care of the children, who would squander every cent unsupervised. The children (Myrna Loy, Kathryn Crawford and George Meeker) assume Emma is going to take all of the money for herself.

To break the will, they accuse her of murdering their father. Emma is put on trial for murder. Ronnie is away in the wilds of Canada and doesn't learn about this until the trial is underway.

This is such a sweet story, buoyed by the magnificent performance of Marie Dressler. What an actress! Warm, strong and honest, she pulls at your heart.

The very handsome Richard Cromwell, Angela Lansbury's first husband, is the adorable and adored Ronnie, and he gives an energetic performance.

Cromwell had an interesting life. Not only did he enjoy some years as an actor in A productions, but he was a successful artist his entire life. Eventually, he opened his own studio. After years out of films, he was scheduled to make one, but withdrew when he was diagnosed with cancer.

Jean Hersholt is excellent as Mr. Smith. Myrna Loy as one of the brat kids is absolutely stunning, though she doesn't have much to do except to act stuck-up.

Highly recommended. Any movie that can stay in your mind and heart for over 50 years has something going for it. Emma had several things, the best being Marie Dressler.

This is one of the rare melodramas from 1930's MGM that is really not outdated as others. It is a funny, but genuinely touching story of a devoted housekeeper (Dressler) who marries her wealthy employer, which does not settle well with his grown children. Dressler is just perfect and the ending is so perfect and bittersweet.

The role of Emma was tailor-made for Marie Dressler, one of Hollywood's greatest treasures. And she jumps into it with both feet as the nanny to the Smith children and then as their step-mother after marrying their widowed father, played by Jean Hersholt. She plays the part to a tee and wrings every ounce of laughs and tears out of her role, a tour-de-force for this old trouper.

Good support cast headed by Hersholt and by Myrna Loy in a thankless role as a spoiled kid/woman and Richard Cromwell in a favorable role here (3 years later he would get Gary Cooper killed in a wimpy part in "Lives of a Bengal Lancer"). But it's Dressler who makes the picture work by the magnetism and charisma of her screen presence. She made 4 subsequent pictures before she was taken from us too soon. "Emma" is a good but not great film held together by Marie.

7/10 ******* - website no longer prints my star rating.

My only two criticisms is that it's a tad slow and yet there isn't enough screen time for Marie. If this film doesn't make you cry at the end- especially the bittersweet "gift" she receives- you are made of stone. Marie may be a tad hammy, but you believe her, none the less. I can see why she was a star.