Scandal at Scourie

An opening reads, "Near the end of the last century, in the Canadian Province of Quebec an Orphanage burnt to the ground. By the grace of God and the courage of the sisters not one child was hurt. But when the noses were counted, one little girl was missing…." That missing nose belongs to adorable orphan Donna Corcoran (as Patsy), who accidentally set the fire. When she is found, kindly nun Agnes Moorehead (as Josephine) and the other sisters set out to find homes for the children. Stopping in Scourie, they are sad to learn the town is overwhelmingly Protestant. Off on her own again, young Corcoran decides to set her goldfish "Harold" free. He was named after the man in the song, "Hark the Harold Angels Sing". Along comes beautiful Greer Garson (as Victoria). She falls in motherly love with Corcoran...

With many rooms in her mansion, the childless Ms. Garson decides to adopt Corcoran...

But the child is Catholic and may stymie the political career of husband Walter Pidgeon (as Patrick J. McChesney)...

"Scandal at Scourie" could have used a more worldly title. It's a cute family film, immaculately produced by Edwin H. Knopf...

The former box-office favorite is as good as ever - arguably, Garson is even better in her post-1940s roles. The luscious cinematography by Robert Planck and gorgeous soundtrack by Daniele Amfitheatrof give it a storybook quality. "Green Sleeves" and "Frère Jacques" are employed very well. Director Jean Negulesco knows how to use his resources. The scene with Garson running through town to a barber shop is a highlight, and Mr. Negulesco guides Corcoran, freckle-faced Tony Taylor (as Edward) and the children nicely. The message of religious tolerance is admirable. Still, while the ingredients are all present, "Scandal at Scourie" has no real depth. A couple of scenes with Garson and Mr. Pidgeon privately discussing their marriage, faith and presumed inability to have children would have given the film an edge.

******* Scandal at Scourie (1953-05-17) Jean Negulesco ~ Greer Garson, Walter Pidgeon, Donna Corcoran, Tony Taylor

Garson/Pidgeon made a film in 1941 called "Blossoms in the Dust," about Edna Gladney, who was a social worker who championed "baby rights." Principally, that film is about stopping the use of the word "illegitimate" on a baby's birth certificate, which cruelly branded a person for life.

This film deals with religious bigotry, and does so effectively. Both films demonstrate that when people take a respectful, but firm stand for something, they can achieve a worthy result. It is a moral picture as one has mentioned, and is well done. People have paid a price to effect vital change. That's a worthy theme.

I have wondered in each case, whether Greer Garson had an interest in the cause. She would have had more choices of films during these periods, I would think. In any event, as usual, she did a good job.

The only time I thought she was actually bad in something (a couple of her films themselves were weak) was in her depiction of Eleanor Roosevelt in "Sunrise at Campobello" with Ralph Bellamy as FDR. The accent and manner were pretty awful -- no, really awful.

But this is a good film. TCM shows it fairly regularly, as part of a Walter Pidgeon birthday salute or for Greer Garson, etc.

It doesn't get more juvenile than the plethora of 1940s Hollywood movies that depict Caucasians and their conflicts with syrupy sweetness. Don't get me wrong; I'm a sucker for Our Vines Have Tender Grapes and, of course, Pollyanna. But the only thing that really saves this kissy-kissy is director Negulesco.

I recommend this one only for extremely diehard fans of Garson. Her cohort Walter is so-so but effective. Unsurprisingly, the children in the cast propel the storyline.

It's important to consider that the biggest conflict presented is protestant vs. Catholic. And that's not a spoiler. Might seem more than tame now, but it was notable then.

This was the sort of film my parents could confidently send me off to see, knowing that there would be nothing scandalous about it. I saw it just after we'd moved to a southern California suburb from a town near Boston, Massachusetts, and I recall being envious of young Donna Corcoran (who was also billed as Noreen, and whose sibling, Kevin, aka: "Moochie," also enjoyed a career as a child actor, mostly at Disney) getting to emote with such charming people as the leads, Greer Garson and Walter Pigeon, one of M-G-M's favorite pairings, once again playing a loving married couple. (By the way, no matter how I try, IMDb keeps deleting the "d" in Walter's last name in this comment when I try to post it. What's going on?!?)

I haven't seen it since but I do remember that I was aware then that it was an example of Hollywood's backlot artistry, something which, were it to be remade today for TV, for example, might benefit from some location shooting in the actual locale of the story. It's a gentle film made with the care one would expect from the professionals listed in its credits, one of those relics unlikely to be made available on video, and that's really a loss that many of us do regret, however mildly. Turner Classic Movies unearths it from their treasure trove occasionally. Worth keeping an eye out for.

Made in 1953, Scandal At Scourie is a pleasant attempt by a major studio to make the sort of film that ten or fifteen years earlier was commonplace. Alas, this movie came out at about the same time as From Here To Eternity and The Wild One, and it was an anachronism even in its day. Anachronisms, however, have their virtues, and this movie has kindness and wisdom to spare. The story concerns the problems faced by a straitlaced middle-aged Irish-Protestant Canadian couple when they decide to take a little girl into their home who just happens to be of the Roman Catholic faith. That their village is overwhelmingly Protestant complicates matters; nor does it help that the husband also happens to be a minister. The conflicts in the film are genuine and credibly presented, and the various characters behave realistically but always with great civility, which in turn gives urgency to the child's plight, as one is forced to ponder the issues that the film puts forth, chief among them the problem of how to deal with unwanted children who are rejected by others in tones so courteous as to make the slightest objection seem like a major offense.