Une pauvre petite fille riche

This delightful film marked a turning point in the career of Mary Pickford, the first time in adulthood that she played a little girl. The illusion was enhanced with specially scaled sets and props that made Mary look smaller, and also by casting unusually tall actors as the "grown-ups," but it wouldn't have worked if Mary herself hadn't been such a gifted performer in her own right. She is remarkably convincing as 11 year-old Gwendolyn. It's notable that when Mary (who was 24 when this film was made) plays scenes opposite Maxine Elliott (who was 12 at the time), the illusion is not spoiled. The great success of The Poor Little Rich Girl at the box office ensured that Mary Pickford would be playing little girls well into her 30s, despite occasional attempts to demonstrate more versatility. Eventually she came to consider the role something of a curse, but in any event the film holds up nicely today: it's interesting, suspenseful, and funny, with odd touches of surrealism during the extended dream sequence that forms the climax.

Mary's Gwendolyn is certainly a sympathetic protagonist. The story paints a vivid picture of the girl's loneliness and her desperation to receive some attention from her high society parents, but she's no sad sack-- she's a spirited kid bursting with vitality, though she's surrounded by servants who devote themselves to stifling her energy. She's sheltered but no snob, and much of the havoc she creates comes when she invites some of the scruffier neighborhood kids inside to play. The comic high point is a mud fight that takes place in the green house of Gwendolyn's home. (Oddly enough, Mary Pickford revealed in later years that director Maurice Tourneur was opposed to the inclusion of this sequence and had to be persuaded to film it.) The mud fight is great fun, but for me the movie's real highlight comes when Gwendolyn, ill and delirious, has a bizarre dream that offers metaphors for her life and the people she's known. For instance, her mean-spirited governess, described earlier as a "snake in the grass," actually appears as such in the dream, while another character is shown to be "two-faced." I won't reveal any more of the imagery for anyone who might see this film, except to note that the dream sequence alone is worth the price of admission.

P.S. I happened to see The Poor Little Rich Girl at a recent screening at the Museum of the City of New York, where locally-made movies are occasionally shown. Viewers interested in New York City history may be interested to learn that this film includes location scenes of Mary taking a ride along Riverside Drive as well as some brief shots of Wall Street. My fellow New Yorkers got a big laugh at one point when Gwendolyn's father contemplates selling his mansion for $35,000!

If you had to pick a typical Mary Pickford film to understand her appeal in silent movies you should look no further than The Poor Little Rich Girl. In this the 24 Mary with the curls that audiences the world over loved, plays an 11-12 year old girl, neglected by her status conscious parents.

Not that the idea was anything new, but Mary does put it over quite well. Her parents Madlaine Traverse are caught up in their busy societal world and pretty much ignore their child. But when she accidentally overdoses on some medicine and hovers between life and death her parents wake up and smell the coffee.

One thing I found absolutely fascinating was that apparently as a punishment for misbehavior one was forced to wear the clothes of the opposite sex. That certainly raises some interesting questions about gender identity in American society in 1917. Mary is forced to wear boys clothes and when she goes out and meets a gang of street kids, she's questioned about her masculinity and really lashes out at her tormentors.

What makes the film really standout though for me is the fantasy world that director Maurice Tourneur created as Mary is in a coma fighting for her life. Given the times the special effects cinematography was wonderful for its time. Cecil B. DeMille couldn't have done better creating a view of how a child saw the world around her and the possible paradise she could have if she quit fighting for her own life.

Great special effects and a standout performance by Mary Pickford make The Poor Little Rich Girl a classic from the days when movies had no voice.

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?

The most original aspect of this film is that it translates into images the delirium of a seriously ill little girl fighting for her life. The beginning of the film is quite conventional both as regards the story, a little girl is ignored by her rich parents and bullied by the servants, and the way of filming, mostly indoor long duration wide shots with fixed camera, with some medium shots and a few close-ups. There are some slapstick gags and a funny scene when the father, remembering that, as a child, he had been dressed as a girl to punish him, decides to dress Gwen as a boy. Far from considering this as a punishment, she enjoys her boy costume and has a lot of fun having a mud fight with street boys.

The film becomes more interesting in the second half when it veers towards surrealism. It shows what Gwen is imagining, taking literally expressions that she hears, e.g. her father fighting bears, and the servants looking like their nicknames, snake in grass, double-face or big ears. It also shows the father, who has big financial worries, visualising his double taking a gun to commit suicide, with Gwen overlooking the scene.

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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.