Now that would be a movie I’d like to see. Shirley Temple IS Katharine Hepburn!
Actually, now I’m envisioning SHirley Temple in all of Hepburn’s roles and I may have to blind my mind’s eye with a hot poker.
My mother used to be a major Temple fan, even has a few pieces of Depression glass with Temple’s face on it. She made me sit through a few of them as a kid and I hated them. I have a low tolerance for treacle and pretty much the mere appearance of little Shirley puts me over the limit. I could barely even stand to watch that Brady Bunch episode where Cindy tries to become the new Shirley Temple, because, good god, one was more than enough.
I think Little Miss Marker (1934), adapted from a Damon Runyan story, holds up well, with its fast-talking mix of sass and sentiment typical of early thirties movies.
I just can’t look at Shirley Temple the same way ever since I learned about the Baby Burlesques. Words cannot express how disturbing it is to learn that at three or four she played the part of a prostitute seducing a politician and adults thought this was funny. I suppose they really have been exploiting kids in film since it all began.
Say what you will about her, she was actually a fairly good dancer – the bitch could do wings (tap-dance move that looks kind of like a jumping jack – except you do taps with both toes when your feet are in the “out” position), which are realy freaking hard!
I grew up with her movies and have a certain nostalgic fondness for them, but I can watch '30s musicals with no problem.
Oh, that is interesting! I will have to tell him that when he comes home tonight. For some reason, that really stuck out in his mind; he kept commenting on it yesterday, and made sure I heard the dialogue when it came up. Thanks for solving that mystery!
Yes; I’ve heard it pointed out that stage style acting doesn’t work as well in movies or on TVs; stage actors are seen and heard with the naked eyes and ears at a distance, so they have to exaggerate things to come across to the audience. Translated to a large screen, or a close up on a TV, everything looks overdone.
Watch one of the comedies of the Ritz Brothers or Wheeler and Woolsey or Olsen and Johnson, and you’ll see what a Marx Brothers movie looks like without the Marx Brothers. The Marx Brothers movies are great for only one reason - because they had the Marx Brothers in them. It would have been so much better if they had ever had a chance to be in a movie that was as good as they were.
It’s like what later happened to Richard Pryor - another comedic genius who never got a role that deserved his talent.