Mrs. Wiggs of the Cabbage Patch

I enjoy this movie immensely. You don't have to think, you can just sit and laugh, or cry, or whatever it makes you feel like doing. I laugh, simply because I am not a teary person.

This film stars Pauline Lord as Mrs. Wiggs, a woman who lives in a quaint almost-slum. If my memory serves me correctly, Pauline Lord was an established Broadway actress who played this role on the stage. She has it down pat, that's for sure. The main problem I had with her performance, and it's a small problem, is that she tends to be a little too soft-spoken. Seeing as my copy isn't very good quality, there were long stretches when her mouth was moving and I didn't hear anything. Then I turned up the volume on my TV--problem solved. Honestly, I thought she did a marvelous job...she defines the word "heartwarming." That sounds ridiculous, I know, but I just love her in this. I've never seen her in anything else, so perhaps this was one of those "Bring the Broadway star to relive her greatest triumph" things, like Shirley Booth.

The best thing about this little movie, at least in my opinion, is ZaSu Pitts. She was a great dramatic actress until sound came in, when her singsong monotone undermined her ability. It's displayed to good advantage here. Her first line in the movie is an example. She says something along the lines of "Animals just seem to run out from under me like chickens from under a hen." The way she says it just kills me. I feel bad for her though, losing her star status simply because she sounded like a bored tea kettle. Fortunately, though, one element of her silent screen acting remains. The character she plays, Miss Hazy (whom Mrs. Wiggs introduces to everyone as the maiden lady from next door), is a very flighty, nervous person, as spinsters are rumored to be. When she goes through her "book of sweethearts" and gets caught, her hands flutter about like panicked butterflies. She's being awkward in an extremely graceful way--it's difficult to explain. Miss Hazy finally gets her wish when her husband arrives, in the portly form of W.C. Fields. (Does "W.C." stand for "water closet," you think?) She probably regrets wishing, one has to think.

The children in the film are suitably saccharine, but Virginia Weidler (from "The Philadelphia Story") is as obnoxious as kids come. She taunts Miss Hazy by holding her breath, saying "I'll turn black in the face!" The other children were played by people I didn't recognize. Billy, one of the two boys, is the "man" of the family, and acts as such. He isn't above showing emotion though, as he cries with the best of them. Also of note is the awfully sway-backed horse Billy is given. That animal looked as though he'd had a rough life, but Mrs. Wiggs has a magic touch. The scene where they revive the almost dead horse is amusing, with Mrs. Wiggs telling the children to cheer for him but warning them against "overyelling." If they yell too loudly, they might tip him over and then they'd never get him up again. Once he's finally on his feet, Mrs. Wiggs and Miss Hazy hold him up until they're sure he can stand upright.

All in all, a cute little movie. That's the word for it--cute. If you don't like sweet little greeting cards from yesteryear, then this isn't your thing.

This is a poignant drama, about the Wiggs family who live in poverty and give thanks, even though they do not have a turkey for Thanksgiving. Mrs. Wiggs (Pauline Lord) has quite a few children, and the girls are all named after continents. A very young Virginia Weidler plays Europena. And while there may not be enough money to go around to raise the children decent-like, there is plenty of love to make up for it, and kindness from Mom's friend Miss Lucy who gives them a turkey. The family is equally surprised when another turkey shows up, their ne'er-do-well father played by Donald Meek. Meanwhile, W.C. Fields is a neighborhood bachelor that a love-starved neighbor lady, played by ZaSu Pitts, is trying to get her hooks into! Don't ask why, because I haven't figured out why anyone would want to marry Fields.

MRS. WIGGS OF THE CABBAGE PATCH (Paramount, 1934), directed by Norman Taurog, is a wholesome story about a poor family sticking together, staying together, through thick and thin, under the guardianship and courage of Mrs. Elvira Wiggs as portrayed by Pauline Lord (1890-1950) in her film debut. From the novel by Alice Hagan Rice, her characters were first transferred on stage followed by three three silent screen adaptations: (World Wide, 1914) with Blanche Chapman; (Paramount, 1919) with Mary Carr; and as LOVELY MARY (MGM, 1926) starring Bessie Love, Mary Alden as Mrs. Wiggs and Viva Ogden as Miss Hazy, the role she also played in the 1919 film. Paramount would redo the old chestnut story once more in 1942 featuring Fay Bainter with Hugh Herbert and Vera Vague in comic support. What makes this 1934 adaptation most noteworthy is the presence of second billed W.C. Fields as C. Eldsworth Stubbins, whose character isn't seen until 56 minutes into the story, and the third billed ZaSu Pitts as Tabitha Hazy, each offering uplifting moments to an otherwise sentimental drama.

The story unfolds in the town of Masonville, Ohio, at the turn of the century. Elvira Wiggs (Pauline Lord) is a poor but devoted mother of five children, Billy (Jimmy Butler); Jimmy (Georgie Breakston); Asia (Carmencita Johnson); Australia (Edith Fellows); little Europena (Virginia Weidler), whose husband, Hiram (Donald Meek) has left them three years ago seeking fortune in Alaska. Living in a shantytown shack purchased by Hiram for which he owes a $25 mortgage to store owner Mr. Bagby (Charles Middleton), Elvira supports herself by washing and ironing for others. Even with the help of business-minded son, Billy, she's unable to come up with the much needed money used in place for extra mouths to feed being their dog, Klondike, and Billy's newly adopted but broken-down horse, Cuby. Regardless of the circumstances, Mrs. Wiggs continues to have a positive outlook on life as she prepares a good old-fashioned Thanksgiving dinner, even it it's leftover stew. Bob Redding, editor of the Masonville Daily Courier, and Lucy Olcott (Evelyn Vanable), his fiancée who lives in a mansion across town, are taken in by the Wiggs family and do all they can to help make their Thanksgiving more pleasurable. Lucy provides them with a traditional Thanksgiving turkey while Bob arranges for Jimmy to be hospitalized under a doctor's care for his bad cough and burning fever, and arranging for Billy to acquire theater tickets for the family so that they can attend a show at the Opera House. While there, the Wiggs family is entertained by comics (Shaw and Lee's "Why did the chicken cross the road"), circus acts and musical interludes to such songs as "Glow Little Glow Worm," "In the Shade of the Old Apple Tree" and "Listen to the Mockingbird." The passing of her Jimmy fails to dampen Mrs. Wiggs' spirits as she continues to be a good neighbor to Tabitha Hazy (ZaSu Pitts), a spinster lady who cannot cook, by secretly providing her a home cooked meal to serve her proposed mail order husband, Mr. Stubbins (W.C. Fields), as well as keeping her family together when the mortgage deadline and having their home foreclosed by Mr. Bagby draws near.

While not quite an artistic achievement, MRS. WIGGS OF THE CABBAGE PATCH, in spite of its much needed background music and slow pacing, is a friendly sort of a movie. Remembered most as a W.C. Fields comedy, it's very much a showcase for Pauline Lord, whose name is unknown today. Virtually a stage actress with this and A FEATHER IN HER HAT (Columbia, 1935) to her screen credits, her quiet yet compelling performance, whether intentional or not, basically slows down the pace of the story, especially when moments where she's supposed to be angry is lacking when not being a little bit forceful. It's interesting to note how closely she resembles Fay Bainter, the Mrs. Wiggs in the 1942 remake, and how much Lord is nearly overshadowed by the supporting performances of little Virginia Weidler who threatens to hold her breath" whenever she doesn't get what she wants, the natural performances of the other kid actors; and of course ZaSu Pitts, whose scenes with the legendary Fields are hilarious, in fact, priceless, leaving one to wonder why they never were teamed again.

During those bygone days of commercial TV when vintage movies such as this dominated the airwaves, MRS. WIGGS was properly presented annually during the Thanksgiving season. I seem to recall around 1972-73 when TV Guide (New York City edition) listed WNEW, Channel 5, in broadcasting the 1934 film only to actually show the 1942 remake, or visa versa, indicating why movies bearing the same names would go through the process of having one of them retitled to avoid confusion. Rarely shown on television since the late 1970s, MRS. WIGGS did go on display on video cassette in the late 1980s through bargain distributor of Good Times Video on LP speed with opening and closing credits in freeze frame mode instead of original slow fade in/ out process, the same print acquired by Turner Classic Movies for its June 11, 2001, broadcast during its star tribute to W.C. Fields.

Without Fields and/or Pitts, MRS. WIGGS would definitely be nothing more than an sentimental melodrama gathering dust in some old film vault never to be shown again. Regardless, director Taurog gives it some splendor and charm that holds interest most of the way. At present it's more of a curio at best, especially as a rediscovery of the once popular stage actress Pauline Lord captured on film as Mrs. Wiggs of the Cabbage Patch. (***)

Years ago, a local independent television station aired this film every Thanksgiving morning because the opening set-piece of the film revolves around the impoverished Wiggs' family's hopes for, and endeavors to create, a bountiful Thanksgiving. Forty-five years later, this darling film is still our holiday tradition. Despite the melodrama and mawkishness, "Mrs. Wiggs" has much to recommend it, not the least of which being one of the only two Hollywood endeavors of the legendary stage actress, Pauline Lord; fans of W. C. Fields and ZaSu Pitts will find much to cheer as well. The recreation of late-19th century poverty has been prettied up, but one is not asked to engage in a sociological critique of conditions, but to enter into a simplicity of motivation and action that captures and compels the imagination. The only weak part of the story is the inclusion of a nod to the temperance sensibilities of the era (of the original play and the '30s) in the scene between Mr. Bob, newspaper editor, and the town drunk. Kent Taylor looks decidedly uncomfortable in the scene, but it serves to introduce the character of the doctor with ties to the private hospital where Billy Wiggs ultimately dies. It is a placid little film with a surprising amount of activity for such circumscribed lives, which is the source of its charm. As in a Jane Austen novel, the minutiae of the everyday lives of ordinary people are endlessly fascinating. I would rate this film a ten because of my great affection for it, but that might be misleading to someone approaching it for different reasons, with different expectations. It is an artifact, yes; a piece of my personal history, certainly; but I suggest watching it with both mind and heart open wide, and judge for yourself.

It is somewhat odd that in the decades of movie development from the turn of the century to the present so few stage stars were able to achieve stardom on film. Usually excuses are given about aging or the general theory that stage work was more prestigious than film work. So few great performers tried to make the change. George M. Cohan made several silent films and two sound films. Only one of the sound films, the musical THE PHANTOM PRESIDENT, is available to be seen - fortunately it shows a mature Cohan at his best. Sarah Bernhardt did do an early (1910) feature QUEEN ELIZABETH with Lou Telegrin as the Earl of Essex. It is worthwhile to watch, but she was an elderly actress at the time (perfect for that role). Unfortunately it is a silent film. Kathleen Cornell did do a Shakespearian speech in one of those all star Hollywood films of the 1940s, but nothing else. Luckier than most were Alfred Lunt and Lynn Fontaine, who did REUNION IN VIENNA in 1932 (and got Oscar nominations that year), but no other films together - but did many television productions for shows like the Hallmark Hall of Fame (such as THE MAGNIFICENT YANKEE and THE GREAT SEBASTIANS) in the 1950s and 1960s.

Who was Pauline Lord? From the 1920s to the 1940s she was one of Broadway's leading ladies. Perhaps she is best remembered for appearing opposite Raymond Massey in ETHAN FROME in 1938. She made a few films, one of which is this one. She plays Mrs. Wiggs, who tries to survive with her children until her husband (Donald Meek) returns from the Klondike with a fortune in gold. The movie (based on a children's book from the 1890s)follows the lady as she struggles on. Ms Lord was actually a very subtle actress, but she had a low speaking voice

which on stage was effective but this film shows it is very tiring. Some critics have seen some of her furtive finger and hand gestures as evidence of great acting ability. Perhaps, but they are too subtle for this film viewer's taste. If the story was more interesting instead of being so simple and boring the movie might be worth watching. So it isn't.

It isn't a W.C.Fields movie either. It was obvious that the film needed some flavoring to keep it alive, so Fields got hired for one week's work as Mr. Stubbins, who is a mail order lover Zazu Pitts has been contacting. Fields tries to do what he can do with his material, but it is dull. Basically Stubbins wants a wife who can cook. Pitts can't cook. So she asks her friend Lord to cook a good meal to impress Mr. Stubbins. He is almost convinced, but he returns to have a second meal and Pitts has to cook it. And it is lousy. Disgusted with a lover who only thinks of his stomach, Pitts throws him out. Hardly the same material for the man who was Harold Bissonet in IT'S A GIFT and Egbert Souse in THE BANK DICK (or even Professor John Quayle in INTERNATIONAL HOUSE).

This was the only film with Charles Middleton as a villain (Lord's landlord) that I wished he would succeed in his villainy. Even he is spoiled in one scene near the end, where he has to be mildly reproved by the soft-spoken Ms Lord, just before Meek returns. This was a dull, boring movie.