La piccola ribelle

The thing which is racist about the film is not that it sets out to show anything evil about the black people - Shirley seems to be quite fond of her slaves, unless of course they do something wrong - but in the subtle way it suggests there was nothing wrong with the situation the Deep South was in before the civil war.

The black people are not only less intelligent than the whites (notice the girl so dumb she can't even remember a single line her mother told her to memorise to impress the young white child star - or perhaps she's just so nervous in the presence of the superior species that she can't remember), but they're completely happy being enslaved.

They absolutely love being told what to do by the six year old landowner's daughter, and the neighbourhood slaves just wait around for young Shirley to lavish some attention on them.

The thing I most regret about the film was that they forced the blacks to dance and entertain their white hosts like a bunch of chained elephants or circus freaks.

Its always a bad sign when the civil war is portrayed as a distruption to the desired state of affairs, as it is here and in Gone with the Wind.

1/5

Only youngsters, who don't yet understand that the only difference between white folks and black folks is skin pigment, which only evolved from a group of people living in an ultra-sunny climate for years, will be able to enjoy this film. But perhaps its better for society if you don't show it to them - the young are so impressionable, after all.

UPDATE: Can I point out that I've noticed people don't like this review, and I'm not surprised; its intentions were so innocent, it feels a shame to accuse it of causing offense, but unfortunately, I'd still suggest this one not be shown to impressionable kids for the reasons I have outlined above.

This was the first Shirley Temple movie I ever watched (on VSH....hey, I'm not THAT old) and I still consider it one of her best.

That's because it has a great mixture of drama, comedy, song/dance and suspense. Almost all the characters are likable. The two dances scenes with Temple and Bill Robinson are excellent....a joy to watch. I don't know if Shirley ever looked cuter than in this film. She runs the gamut of emotions in here quite frequently.

The 74-minute story never has a lull. John Boles and Karen Moreley are people you root for, Willie Best provides good comedy and there is a surprising amount of suspense.

Overall, however, this is simply a sweet, sentimental film that leaves you feeling good after watching it.....and what's wrong with that?

The previous review of this movie begins with the question "Can you get past the racism of the era?", and concludes that you can't. I won't argue that you should "get past" the racism. Rather, I'd argue that you need to look right at it and see that it is not simple, and not just a matter of stereotypes.

Yes, Willie Best's character is an embarrassment when it is not infuriating. There's no arguing that.

But Bill Robinson's character is very different. He is the one on whom Mrs. Cary relies when her husband is at war, he is the one who makes it possible for Cary to get back to see his wife as she is dying, etc. He is also the one who makes it possible for he and little Virgie to get to Washington and, eventually, plead her father's case with President Lincoln. In short, he is the character who makes pretty much everything good happen.

Yes, there is injustice in that he should have received higher billing as a result, and he should have been in the final shot with Temple, as he was as important as her father and more important than Jack Holt. That was unfair, and though probably based on what Fox thought American audiences of the time would tolerate, nonetheless a concession to the racism of the time. But for its time, this movie is remarkably devoid of the "dumb and happy darkie" stereotypes of the time that are so infuriating.

Furthermore, little Virgie never once treats "Uncle Bill" as anything less than an equal. Nor do her parents ever treat him disparagingly.

Race relations in this movie are not perfect. But neither are they stereotypes. There is no point on zooming in on Willie Best's character and going through all the modern clichés of moral superiority, only to dismiss it. The movie deserves better than that.

Yes, the dancing by Robinson and Temple is a wonder. But this movie has other things that are worth examination as well.

Forget what you may have been told about this movie and try to watch it with an open mind. You won't waste your time.

I almost believe Shirley could end a war single-handed. Not the entire war, of course, but a few regiments from each side, camped across a creek from each other, going over their plans for tomorrow's battle... but wait! What's that noise? Why, it sounds like singing! And tap dancing! Then from out of nowhere, floating down the creek on a raft is little Shirley herself, singing 'Those Endearing Young Charms' in her prettiest dress, a pink bow in her hair. Hooray! shout the rebs, Hooray! shout the yanks! The generals from each side wade out to meet her and carry little Shirley off on their shoulders to the White House where an oddly blond-bearded Abe Lincoln asks her help in ending the war, reconstructing the south, appeasing the slaves, preventing his own assasination, working things out with Mary, and sobering up Grant. Accomplishing this in less time than it takes to curl her hair, our three-foot heroine bids a tearful farewell to America and sails to Germany, where she charms the baby Kaiser out of starting World War I.

THE LITTLEST REBEL (20th Century-Fox, 1935), directed by David Butler, another agreeable and rewarding motion picture featuring child star, Shirley Temple, teams her once again opposite 1935 co-stars John Boles (CURLY TOP) and Bill "Bojangles" Robinson (THE LITTLE COLONEL). Capitalizing on the success of THE LITTLE COLONEL, set after the Civil War, THE LITTLEST REBEL, taking place during the war between the states, finds Temple as a little girl winning the hearts of those around her, especially a tough Yankee soldier (Jack Holt) and U.S. President Abraham Lincoln (Frank McGlynn Sr.), with whom she shares his apple. An old chestnut by Edward Peple that was first staged and  later filmed during the silent era in 1914, this edition, Temple's last for 1935, further demonstrates her as a fine child actress who equally handles her lighter and dramatic scenes with conviction and sincerity.

The story is set on a Southern plantation where Herbert Cary (John Boles) and his wife, Helen (Karen Morley) honor their child, Virginia, better known as Virgie (Shirley Temple), with a birthday party where she and her little guests are gathered together with ice cream and cake along with tap dancing entertainment by Cary's slave/ butler, Uncle Willie (Bill Robinson). Shortly afterwards, the party is disrupted by startling news that war has been declared between the states. Enlisting in the Army, Cary leaves his wife and child under the care of Uncle Willie. With Yankee scouts invading their property, Virgie, while playing soldier, sling shots Colonel Morrison (Jack Holt), addressing herself as a "confederate." In spite of their differences, Morrison, a father himself, takes an immediate liking to Virgie, later rescuing her from the threat of the villainous Sergeant Dudley (Guinn Williams) for not revealing the whereabouts of her "daddy." After the Cary estate is burned to the ground, causing Mrs. Carey to fall ill and die within three weeks time, Cary leaves his post to take Virgie over to Richmond where she's to be placed in the care of her Aunt Caroline. Complications arise when Carey is recognized and captured, separated from his daughter, imprisoned along with Morrison for helping him, each charged with treason and sentences to be executed.   

With 20th-Fox specializing in Southern stories set during, before or after the Civil War, THE LITTLEST REBEL is a fine example capturing Southern hospitality and flavor with the reconstruction of plantations and notable songs from that era including "Swanee River" (by Stephen Foster) sung during opening credits; "Turkey in the Straw" (tap dance by Bill Robinson); "Those Endearing Young Charms" (sung by Shirley Temple); "Sometimes I Feel Like a Motherless Child" (by Thomas Moore and Matthew Locke); "Polly-Wolly Doodle" and "Polly-Wolly-Doodle" (sung by Temple and reprized during closing titles).

Of its cast members, Bill Robinson and Willie Best provide lighter moments to their traditional servant roles. Best's performance as a shiftless and comical slave gives the impression that his role as James Henry was actually intended for Stepin Fetchit. While Best doesn't imitate Fetchit's comical methods to the extreme, he works well alongside Robinson as his comic foil doing a brief takeoff in the popular "Amos and Andy" radio show tradition in the question and answer session where Best asks Robinson: "Why is a shoe called a shoe?"  Although portraying their roles through stereotypes, Robinson comes through as an intelligent, caring and sensible slave with a talent for dancing. He's very convincing and sincere through his interacting with Temple, which is why they work so well together. John Boles satisfies as the easy-going father turned soldier and accused spy while Karen Morley, despite of her screen limitations, makes due with her role.

Due to controversy in how the black performers are portrayed, cable television revivals of THE LITTLEST REBEL in recent years have been limited, though shown frequently at some point on American Movie Classics (1996-1999), the Fox Movie Channel, and availability since the 1980s on home video and afterwards DVD either in black and white or colorized formats. In May 2006, THE LITTLEST REBEL was one of the films chosen as part of its subject matter of "Black Images on Film" theme co-hosted by author Donald Bogle, where he and host Bob Osborne discussed the film, performances of Robinson and Best, as well as a scene where Temple gets herself corked up to avoid Yankee soldiers.

THE LITTLEST REBEL, along with THE LITTLE COLONEL, were intended as screen entertainment with no intention to offend, yet something to consider as a reflection of the times, and how a Civil War story such as this is seen through the eyes of Virgie Carey, the littlest rebel. (***)