Les aventures de Tom Sawyer

There have been numerous film adaptations of Mark Twain's beloved story, "The Adventures of Tom Sawyer," but few capture the boyish wonder and childlike bliss which permeates the classic yarn. Luckily, 1938 rendition is one of the select few that do. The acting is first class; the directing often innovative, and the whimsical screenplay is respectful of the novel.

The novel itself is entertainingly superior to Huckleberry Finn in its lack of a political agenda or societal commentary. Its sole objective is to return us once more to the naivety of youth when our life was far simpler and, in many cases, far happier.

For the older generation of film aficionados, child actor Tommy Kelly was the definitive Tom Sawyer. His winning smile, visible freckles and bright eyes encapsulate the literary character to a tee. After watching this film and re-reading Twain's novel, it is impossible to remove the image of Tommy Kelly from one's mind as he or she remembers Sawyer's antics.

It is in the supporting characters, however, that this film truly shines. The grade-A performances of Walter Brennan as the likable Muff Potter, a make-up smeared Victory Jory as the menacing Injun Joe and Olin Howlin as the violent schoolmaster are highlights of the film. Brennan seems to infuse a perpetual helplessness in his inebriated character that epitomizes the small town bum of a forgotten America; Jory makes Injun Joe the personification of evil and a red-faced Howlin is superlative as an authoritarian teacher who makes the audience cringe when he canes Tom. Australian-native May Robeson, who portrays Aunt Polly, is able to make smooth, believable transitions from harsh severity to tender leniency as the script demands.

Remarkably, the numerous child stars in this film were destined for unhappy lives. David Holt (Sid) spent his early life as a child actor in poverty as he, much like Tommy Kelly, waited for star-making film roles which never came. Jackie Moran (Huckleberry Finn) soared briefly higher towards elusive stardom when he was cast as the energetic sidekick of Buster Crabbe in a "Buck Rogers" (1939) serial. Immediately afterwards, Moran's career plummeted into oblivion. Perhaps the only exception to this streak of bad luck was Ann Gillis (Becky Thatcher) who found herself always in demand to portray a screen brat. Upon coming of age and legally capable of making her own decisions, Gillis wisely left the film industry to find happiness elsewhere.

"The Adventures of Tom Sawyer" (1938) is also significant in that its talented screenwriter, John V.A. Weaver, died shortly after its release of tuberculosis. His successful but altogether short career included writing screenplays for such cinematic classics as King Vidor's "The Crowd" (1928) and "The Saturday Night Kid" (1929). In a sense, this film was his last hurrah and it is only fitting that Weaver's last project in his old age should be subtly based upon the universal human longing to be young once again.

I like the book a lot. It is quite episodic in structure, but the characters, dialogue and the story of Tom's adventures are very memorable. This is a very pleasant film and the best version by some considerable distance, like the book it is episodic but it does maintain its likability and charm with only Ann Gillis's rather coy performance and an underdeveloped Huck being the only real problems. Visually and technically, The Adventures of Tom Sawyer is very impressive with gorgeous Technicolour, authentic costumes and lavish sets. (Uncredited) Max Steiner's score helps convey the moods of each scene, the film is faithful to the book(not that it needed to be particularly) with good dialogue and an intense confrontation with Injun Joe and it moves at a good pace. Tommy Kelly is a likable Tom, but it is May Robson and Victor Jory that make the film as memorable as it is. In conclusion, likable and pleasant and definitely something I would watch again willingly. 8/10 Bethany Cox

THE ADVENTURES OF TOM SAWYER keep the small town of St. Petersburg, Missouri in constant turmoil, circa 1850...

This is a splendid family film, one of producer David O. Selznick's very best. Presented in wonderful Technicolor, it is like looking through the pages of an illustrated copy of the classic novel. All the favorite episodes are here. All of the performers are perfect in their roles. It is difficult to imagine a better transition from book to screen.

Elderly May Robson has one of her finest roles as harried, temperamental, lovable Aunt Polly. She easily steals every scene she's in & provides the sentimental heart of the movie. However, breaking out a bit, her last scene at the film's conclusion is hilarious. A small cluster of veteran character actors - Walter Brennan, Victor Jory, Donald Meek & Margaret Hamilton - are also exceptional in their roles.

12-year-old Tommy Kelly IS Tom Sawyer - he will instantly gain the respect & admiration of every prepubescent male in the audience. Beguiling & mischievous, with an infectious grin & sad eyes, he admirably fills the bare feet of America's most famous literary kid. The movie's other child actors - David Holt, Marcia Mae Jones, Ann Gillis & Jackie Moran - give excellent support. (Legend has it that Selznick found young Master Kelly in an orphanage. True or not, this was his best role. Very soon he was playing only bit parts and eventually left films around the age of 25.)

The cave sequence is especially noteworthy, thanks to the art design of William Cameron Menzies, the flickering camera work of James Wong Howe, and the moody music of Max Steiner. Spooky & claustrophobic, these scenes are the embodiment of every viewer's nightmares, and, thus, are tremendously entertaining.

It should be noted that while the character of Jim is correctly depicted as a slave, the film itself is blessedly free of the racism that blights so many Hollywood films of the 1930's.

May Robson--this veteran always gave her best in family dramas. Here she is as Tom's likable Aunt Polly, fresh from her memorable stint as Janet Gaynor's wonderful and endearing grandmother in the original Star Is Born from the previous year (1937),

Walter Brennan--he won his first supporting actor Oscar for Come And Get It in 1936, which was also the first year that this award was given out. He subsequently snagged it two more times. Nobody did a town drunk (like his AOTS character Muff Potter) any better. Truly a "one of a kind" performer.

Victor Jory--the following year, Jory played perhaps his most famous role as the amoral and unpleasant field supervisor at Tara in Gone With The Wind. He was able to be convincing in both sympathetic (The Shadow serial 1940) and nasty (Bad Men Of Missouri 1941) parts. His Injun Joe from AOTS is one of the most scary characters to emerge from movies of the 1930s.

Marcia Mae Jones--this busy child actress scored big as the victim of Bonita Granville's sadistic torment in These Three (1936). She made a convincing Mary Sawyer in AOTS.

Spring Byington--she will always be remembered as Marmee in Little Women (1933) and countless other maternal roles that became her unique specialty.

Margaret Hamilton--her Wicked Witch from The Wizard Of Oz (1939) is probably best described as the female counterpart to Victor Jory's Injun Joe in AOTS.

Donald Meek--the ultimate victim of life's misfortunes in cinema, whose unforgettable presence graced so many enjoyable films of the 1930s. In 1939, he created the memorable whiskey salesman role in Stagecoach; the previous year he was impressive as Poppins In You Can't Take It With You. The human version of a "'frady cat."

On a personal level, AOTS is important to me as being the very first film that I can remember seeing in a movie theater. It also was the first color movie I ever saw. In addition, it introduced to me the element of terror as a possible consequence of going to the movies. And in Tommy Kelly as Tom and Ann Gillis as Becky, I was exposed for the first time to the charm and sweetness of innocent childhood romance--something that probably confused me more than anything else. You see, I had a lot more growing up to do in the days and years ahead!

Even after all these years, this David O. Selznick version of the Mark Twain classic holds up better than most. The humor with Sidney is stretched to the limits, but all of the novel's high points are included. And most impressive is the camerawork of James Wong Howe, especially in those latter cave sequences.