Mickey

Like "Montana Mike," another childhood film I loved, "Mickey" was avidly watched by my brother and me as children in the early days of television. I don't remember it in detail, but it used to be aired fairly frequently and my brother and I would both eagerly anticipate its broadcast. I do remember that Mickey was a "tomboy" and we both thought "Mickey" was the greatest. I think children today might enjoy it too, although I am not so sure that it would stand up for me as an adult. But who knows? It should be released on video if only as a cinematic artifact of a more charming and innocent period in American history.

Back in the '50s, before the major studios released their old movies to TV, several so-called "poverty row" companies (Republic, Monogram, PRC, etc.) filled the void with the television equivalent of "garage sales" of their low-budget 'B' products. Because of the paucity of old movies on TV in that era, a number of these films were shown over and over again--and proved, to viewers' delight, that an economy budget didn't necessarily spell mediocrity. Case in point: Eagle-Lion's sprightly "Mickey," a thoroughly disarming tale of a feisty teenaged tomboy coming of age in small-town America. A charming young actress with a lilting soprano voice, Lois Butler played the title role, supported by such pros as Bill Goodwin as her understanding widowed Dad, and the always-lovely Irene Hervey as their next-door neighbor. The likeable Skip Homeier supplied additional charm as Mickey's highschool crush, and the magnificent Hattie McDaniel added her customary zing as--what else?--the wisecracking housekeeper. Released the same year as MGM's glossy, big-budget, all-star "A Date with Judy" (1948), "Mickey" was no match for that MGM blockbuster but exudes its own unpretentious charm. A dated artifact of its era, to be sure, but nevertheless a breezy, endearing portrayal of the trials and tribulations of small-town teenagers way back when. Films like "Mickey" shouldn't be ridiculed and forgotten but cherished and enjoyed for their candy-coated portrayal of a bygone era. A la Jane Powell, Ms. Butler even gets to sing a few tunes (most memorably "Someday My Prince Will Come") and the pleasing production is further enhanced by the pasteled Cinecolor cinematography. A modest, beguiling treat--long overdue for a re-discovery and restoration (are you listening, TCM?)

Lois is my aunt. She was my favorite person. She would always sing to me when I was young, she always had a beautiful smile and I loved her very much. I am so happy that people liked "Mickey", I thought it was a darling movie. Thanks for all the positive responses. She was also married to Hall Bartlett, producer of "Jonathon Livingston Segull". He was a gorgeous man with steel blue eyes and black wavy hair. He wanted her to continue her career but she wanted to have children and raise a family. She married a wonderful man after Hall. He was a dentist. They moved into a great home that had been owned by Chuck Conners previously.

I love this movie. I saw it when I was a kid and then again many years later. It holds up quite well. The performances are very sincere, and I will never forget Hattie McDaniel, in the kitchen, putting vanilla extract behind her ears for perfume. I also love the muted color photography and the title song. Lois Butler is great, and she has wonderful support from the rest of the cast, especially Irene Hervey. It was also the first film I saw featuring Skip Homeier who continued in movies for many years, mostly in western roles. This 1948 film reminds me of those wonderful days when I would go to the neighborhood theatre for a Saturday matinée and live alongside all the characters on the screen.

Lois Butler is 14, transitioning from being a tomboy to being in love. Her mother is dead, and father Bill Goodwin speaks every line like a radio announcer. Between trying to make sure he doesn't marry Rose Hobart and stopping the movie so she can sing a song -- she does a nice version of "If I Were The Only Girl In The World", it looks like a by-the-numbers movie by people who have no sense of how people behave, but have seen every Andy Hardy and Henry Aldrich movie, and have a contract with Eagle-Lion, working its way out of its PRC origins.

Despite an interesting cast that includes Irene Hervey and Hattie McDaniel, it never attempts to exceed its rote expectations, despite a script by Agnes Christine Johnston.