The Poor Little Rich Girl

Like so many of the silents, there is a powerful message here about family and the importance of family. Here is a little girl with everything money can buy except the time of her parents. They are so busy with making money and the social circuit they have no time for their little girl (Mary Pickford). As is also the case with so many silents, the cue cards make sure that we understand the points the makers want made. And as has been the case in so many other silents, the movie makes its points very well and did not need the extra cue cards to make them. Having said that, this is a very good movie. Early films could do a very good job of telling a story and making a statement. This one does indeed do both.

There is something of the Lewis Carroll in this quite touching story of a young girl "Gwen" (Mary Pickford) who lives with her wealth-obsessed father (Charles Wellesley) and her socially-obsessed mother (Madlaine Traverse) who indulge their daughter insofar as money allows, but who pretty much neglect her otherwise. Despite her best efforts to engage with her parents - the spirited eleven year old "Gwen" makes little progress so seeks friendship amongst the local (not exactly "suitable" children) culminating in quite an entertaining mud fight. When two of the servants at her home mix her medication, she becomes dangerously ill and the whimsical elements introduce themselves - she has some wonderfully surreal dreams of the life she might like to have had; avenges the ill-treatment of her governess, addresses the indifference of her parents (a potent scene with her father sitting by a dollar pill printing machine churning out note after note...) - all whilst the bed-side waiting parents have to completely reevaluate their own priorities. Pickford was mid-20s playing the diminutive child, and she does it with a plausible, tomboy-ish, innocence that carries the humorous elements of Eleanor Gates' play well. At times it is a little too far-fetched, but Maurice Tourneur keeps the focus on the underlying theme of familial incivism front and centre and effective whilst ensuring the steady pace keeps the whole thing enjoyable to watch.

Poor Little Rich Girl, The (1917)

*** (out of 4)

Mary Pickford, 25-years old, plays Gwen, an 11-year-old girl who has all the money in the world but she's quite unhappy. This is due to her parents not paying any attention to her and the servants pretty much push her around. The fact that she has no friends doesn't help matters but a tragic turn might be what causes everyone to realize how special she actually is. THE POOR LITTLE RICH GIRL isn't the masterpiece that some people make it out to be but it's quite an interesting little film. I think most people would go into any film with a bit of skepticism whenever you had an adult at the age of 25 playing someone that is just 11 when the movie ends. Pickford became a legend playing these young parts and she would be doing this nearly ten years later and people were still eating it up. Her performance here is certainly the main reason to watch this film because there's no doubt that you're watching a truly talented actresses doing a rather remarkable job. I was rather skeptical going into the film but it takes a matter of seconds for you to believe Pickford is this young child. I'm not sure what it was but not once did I see an adult playing a child but instead you were watching a child play the part. Pickford was just downright marvelous when it came to the facial gestures and just simple looks that you'd expect to see from a child. No matter if she was being playful or or throwing a temper tantrum, you believe it is a child. Pickford goes through a wide range of emotions and she nails all of them perfectly but my favorite has to be a rather long sequence where a new "friend" is brought to the house but the girl is a rich snob who quickly gets into a fight with Pickford. The playful but bratty way the actress plays this sequence makes for some big laughs and it's certainly the highlight of the movie. Madlaine Traverse and Charles Wellesley are both good as her parents but there's no question everything in the screenplay (by Francis Marion) is for Pickford. Director Tourneur handles the material quite well but the really highlight of his vision comes from some of the more nightmarish scenes including one where a large snake goes after the girl and another one where her father visions himself committing suicide. The film runs 65-minutes and I must admit that there were several times where I got a little bored and this is just one reason why I'd stop short of calling the film a flat out masterpiece. I thought there was a little too much "melodrama" showing how unhappy the girl was and this includes one scene where she's punished by being forced to where boys clothing. With that said, those interested in the legend of Pickford will find this film a good place to start because it shows her in the type of role people loved her for.

In addition to typecasting Mary Pickford as playing child characters, this role established her as America's Sweetheart. The 24-year-old Pickford plays an 11-year-old rich girl, who's neglected by her parents and is raised by nasty housekeepers and several personal schoolmarms. The only playmate she's allowed is a bore. Of course, every viewer sympathizes with the character's predicament, and Pickford gets the most out of that. The mud fight and tantrum scenes add some amusement between the more gushy moments and the great dream sequence.

Much of the credit here also needs to go to the screenwriter Frances Marion. Besides being a woman in a male-dominated business, she was one of the first scenarists to have creative control over productions. Like another female screenwriter, Anita Loos, Marion helped introduce the role of intertitles in silent film (as opposed to the tableau style of title cards only to introduce scenes). Both women also sometimes demonstrated their authorship with self-referential winks; Marion's "Armarilly of Clothes-Line Alley" and Loos's "Wild and Woolly" are two examples--where the authors expose their constructions with one intertitle.

Pickford does well to overcome the weirdness of an adult playing the role of a child. Moreover, the setting of a mansion, in addition to large props and tall actors accentuate Pickford's natural smallness, but more needed to be done about her adult figure. Director Maurice Tourneur and the film-making crew add appropriate, non-intrusive style to this sweet photoplay, providing Pickford with the most important vehicle of her career.

Gwen's family is rich, but her parents ignore her and most of the servants push her around, so she is lonely and unhappy. Her father is concerned only with making money, and her mother cares only about her social position. But one day a servant's irresponsibility creates a crisis that causes everyone to rethink what is important to them.

The film was shot in Fort Lee, New Jersey when early film studios in America's first motion picture industry were based there at the beginning of the 20th century.

What is most interesting to me is that the film was directed by Maurice Tourneur. Maurice had an incredible career spanning from the earliest days up through the 1940s. And yet, I think he is not a well-known figure. His son, Jacques, is quite a bit more known due to his working with producer Val Lewton. But why has Maurice been forgotten?