Non siamo più bambini

This is Shirley Temple's last film under her very successful Twentieth Century-Fox contract. And, sadly, it's NOT among her better films. Part of it is that Shirley now was 12--and no longer the adorable 7 year-old. Most of it, however, was the script--which was rather weak.

The film begins with two show people (Jack Oakie and Charlotte Greenwood) being given a baby. It seems their friend has died and he wanted them to raise the kid. Years pass and the child grows into an adorable show-stopping kid herself (Shirley Temple). During this montage sequence, you see several cute clips of a younger Shirley in previous films. After years of working hard on the road, the family has decided to call it quits and settle down on a farm left to Shirley by her biological parents. However, Oakie and Greenwood REALLY come on very, very strong in this VERY conservative neighborhood. Now these townsfolk are obnoxious old drips---but I also thought that if this family came storming into town like this family did, I might hate them, too. This is a seriously weak part of the film as you were supposed to love Shirley's family and dislike the townsfolk--but I really didn't like any of them. Eventually, however, the family is able to convince everyone how wonderful they are and the film ends--a contrived and weak ending if I've ever seen one. Overall, this film is a time-passer at best. It's not bad but neither is it very good.

Shirley Temple's last film on her 20th Century Fox contract was a good one. Young People is the story of Shirley and her adoptive parents Jack Oakie and Charlotte Greenwood, a pair of vaudevillians who have decided to settle down on a Vermont farm that Shirley's real father left her to give her a home and some stability. They figure she ought to have some at the ripe old age of twelve after a life of born in a trunk.

Oakie and Greenwood are the Ballantines and they have some nice chemistry between them. They should have been teamed more often.

Sad to say what they get is a bunch of hidebound New Englanders who don't take lightly to strangers telling them what's wrong with their way of living. Especially from a brash show business type and they don't come more brash than Jack Oakie. But in her usual fashion Shirley brings them together. As the Good Book says, 'and a little child will lead them'. Even though the little child is starting to show signs of puberty. No doubt why Darryl Zanuck did not renew her contract.

Shirley Temple left 20th Century Fox on a good note.

The first time I saw this movie when I was a pre-teen, I loved it. It is innocent, real, true to life and I love Charlotte Greenwood and Shirley Temple. I can still see it in my memory.

YOUNG PEOPLE (20th Century-Fox, 1940), directed by Allan Dwan, not only became Shirley Temple's final "little girl" performance, but marked an end of an era to a legendary child star who entertained and delighted movie audiences during the Depression era 1930s, with box office hits that began in 1934. But by 1940, with the changing of times that would soon lead the country into World War II, and the new likes in movie entertainment, Temple's once popular box-office appeal was now fading, and fading fast.

The storyline opens with Joe and Kitty Ballantine (Jack Oakie and Charlotte Greenwood), a couple of vaudeville headliners, after finishing their performance, being given a basket, finding a baby in it. At first they think it's some sort of a gag to add amusement to the audience until Joe finds a note written by their closest friend, the widowed Barney O'Hara, who hasn't long to live, explaining that the infant is being placed in their care. So the natural thing for Joe and Kitty to do is to keep the baby and raise it up themselves. Over the years the infant girl grows into a talented trooper like her "parents," and after some ten years, the Ballantines decide that it's now time to retire, and to give their young "daughter," Wendy (Shirley Temple) the kind of upbringing she very well deserves. So after their farewell performance, they move to a New England farm in Stonefield where they can live the simple life, and have Wendy educated in a local town school with other children her age. But while it all sounds well and good, they find that they are being snubbed by the resident well-to-dos, and learn that the common folks are nothing but phonies who look down on show people.

YOUNG PEOPLE is a worthy conclusion to Temple's childhood years at 20th Century-Fox mainly because it includes film clips from her past movies, inter-cutting her scenes with her on-screen father, Jack Oakie, including her "Baby, Take a Bow" number from STAND UP AND CHEER (1934), where Oakie fills in for James Dunn; and the Hawaiian dance number from CURLY TOP (1935). After these stardust memory moments are presented, comes Shirley, now age 12, taller, prettier with darker hair, doing her song and dance with top hat, white tie and tales in a very energetic manner, showing that even though she's maturing into a young lady, she still has that gifted talent. Sadly, her subsequent films she starred in during the later 1940s, such as KATHLEEN (MGM, 1941) and MISS ANNIE ROONEY (UA, 1942), failed to recapture the magic she once had, mainly due to mediocre scripts that kept Temple from being the super star teenager she could have been like Deanna Durbin, Jane Powell and/or Elizabeth Taylor. And while Temple had been the center of attention through most all her previous movies, for the first time in her successful career, Temple here is overshadowed by her co-stars, mainly by the unlikely likable pair of Oakie and Greenwood.

Good tunes by Mack Gordon, Harry Revel and Harry Warren include: "The Mason-Dixon Live" (sung by Oakie and Greenwood); "The Beaches of Waikiki" (danced by Temple, from the clip from CURLY TOP); "Baby, Take a Bow" (by Jay Gorney and Lew Brown/sung by Oakie and Temple /Temple scenes lifted from STAND UP AND CHEER); "Fifth Avenue" (sung by Temple, Oakie and Greenwood); "I Wouldn't Take a Million" (sung by Oakie); "Flocently Sweet Afton" (sung by children); "Young People" (Sung by Temple and children); "I Wouldn't Take a Million" (sung by Temple); and "Tra-La-La-La" (sung by cast/finale).

Also seen in the supporting cast are George Montgomery as Mike Shea, the town reporter, editor, typesetter and everything else rolled into one; Arleen Whelan as Mike's girl, Judith; Kathleen Howard as Hester Appleby, the town snob; Minor Watson, Darryl Hickman, Irving Bacon, Olin Howland, Mae Marsh, and among other character actors who fill in the New England town. And that's Mary Gordon as the old lady who brings in the basket into the theater in the opening portion of the story.

Reportedly a bigger box-office failure than Temple's earlier 1940 release, THE BLUE BIRD, YOUNG PEOPLE isn't really all that bad. It just returns Temple to the simple plot formula she's been doing most of the 1930s, featuring songs, comedy, little drama and moments of tears, but by this time, these familiar plots were becoming all too predictable and old-fashioned. Critics were probably saying to themselves that this is now 1940, not 1935! 20th Century-Fox did make an attempt or two to modernize YOUNG PEOPLE, especially during the closing credit cast listing with the underscoring being jazzed up a bit to fit the big band era. Otherwise, its a cute and enjoyable little comedy-drama about adjustment and acceptance with a moral lesson intact without becoming too preachy.

Oddly, YOUNG PEOPLE never became part of the Shirley Temple video package from CBS/FOX VIDEO back in the latter part of the l980s. This oversight was finally corrected in the mid 1990s when YOUNG PEOPLE was distributed to home video, but unlike the earlier packages, it's available only in colorization. While YOUNG PEOPLE had been presented in recent years on several cable TV stations colorized, such as the Disney Channel in the early 1990s, American Movie Classics, which premiered this overlooked Temple feature back in 1996, wisely presents this in its original black and white format, the way it should be presented for that's the way it was distributed in theaters.

YOUNG PEOPLE may not be top Temple material, but it is a fond farewell to a little girl who has now grown up. (***)

Joe and Kitty, a couple who perform on the vaudeville circuit, take in an orphaned baby named Wendy (Shirley Temple), who they raise as their own and eventually incorporate into their act. Eventually, she becomes the star of their trio, The Ballantines, until Joe and Kitty decide to quit the business and put down roots in New England. Their timing is prompted somewhat by the fading of Vaudeville, caused by the popularity of films.

Jack Oakie and Charlotte Greenwood capture the spirit of vaudeville extremely well. He is a perfect "second banana" and she is the prototypical specialty act. When Joe and Kitty arrive in the New England town of Stonefield, their show biz bluster makes them fish out of water. Daughter Wendy, always the upbeat optimist, helps them negotiate with some social situations. But Stonefield is a town of staid citizenry who like tradition; those in power resist any concessions to modernity. In the end, circumstances arise that demonstrate that the Ballantines are valuable citizens of the community.

Miss Temple carries this film and provides the center of the story. And due to some remarkably edited sequences, we see her performing from ages six to twelve, roughly.

As a musical, this film is not a tremendous success, but it is worth seeing due to Shirley.