An infant is abandoned at a New York City foundling hospital and the matron on duty makes a phone call to the Institute of Child Psychology. Professor Peter Vincent (Philip Merivale) and Dr. Woodring (Alan Napier) arrive to conduct a series of evaluations on the infant; she is adjudged satisfactory, and removed to the Institute for education. The Institute has a theory about education, and have taken on the infant girl, named Alpha (Margaret O'Brien) to test their theories. Alpha will be taught Chinese, music, chess, math and history, but will be removed from the rest of the world, so as to eliminate any corrupting influences. At age 6, Alpha, now fluent in Chinese, able to read complicated books, and an expert in world history, is ready to be tested by Professor Josh Pringle (Henry O'Neill). When word gets out about Prof. Pringle's arrival, reporter Mike Regan (James Craig) arrives at the Institute to do a story on the prodigy. Bemused by Alpha's concrete understanding of the world, Mike tells her the world is full of magic, a concept that has been rejected by her tutors. So the Lost Angel (1944) ventures out of the Institute to find Mike and prove the validity of magic.
This is a truly delightful film, both moving and funny, with a cast that is in top form. Margaret O'Brien is excellent as Alpha, a little girl who is, at times, more mature than her elders. She manages to make Alpha smart without being a show-off, but also to retain Alpha's innocence and child-wonder of the new world she is being revealed. (The character is somewhat reminiscent of Natalie Wood's Susan Walker in Miracle on 34th Street.) In 1945, Ms. O'Brien was presented a special juvenile Oscar, for her work that year (including this picture) (AFI catalog) The story of that Oscar did not end in 1945 - it was stolen from Ms. O'Brien's home in 1954, shortly before her mother's death, found 50 years later (for the full story, visit this blog post) and returned to the ecstatic Ms. O'Brien.
But Ms. O'Brien would be lost if it was not for the rapport that she has with both James Craig and Marsha Hunt (Katie Mallory). Ms. Hunt is particularly terrific, combining a developing motherly affection for the child with a wariness of her. The scene of their meeting at Katie's nightclub is especially funny. The image of the Alpha and Katie staring at one another in a game of visual chicken is wonderful (Katie loses the match!). They would appear in another film together that same year: Music for Millions.
Ms. Hunt, who just celebrated her 100th birthday, began her film career in 1936 with The Virginia Judge; she retired from acting in 2008, following her appearance in the short film The Grand Inquisitor (for more on her appearance in this film, listen to this Film Noir Foundation podcast on Ms. Hunt). A truly underrated performer (watch her extraordinary performance in Cry 'Havoc' (1943), her career was foreshortened when she was blacklisted. Her crime - she was a member of the Committee for the First Amendment, and protested HUAC's questioning of the Hollywood Ten. Offered the opportunity to apologize for her protest, she steadfastly refused, and channeled herself into working for world peace and the environment (Deadline Hollywood). Now retired, there are ongoing efforts to make a documentary on her life.
The film is gifted with a number of fantastic supporting actors. Keenan Wynn had already appeared in four films, only one of which credited, when he appeared as Packy Roos in our film, and he is wonderful as a gangster who doesn't read very well. His interactions with Ms. O'Brien are very funny, resulting in several sweet and amusing scenes. Alan Napier, Philip Merivale, Donald Meek (Professor Katty), and Sara Haden (Rhoda Kitterick) also handle their parts with extreme delicacy. It would be easy to make the members of the Institute into villains, something these remarkable actors avoid. Their love for Alpha is apparent from the beginning of the film - though she is their job, she is also a responsibility, and one that requires understanding and affection. There are a few more actors to watch for - Ava Gardner in an unbilled roll as a Hat Check Girl. Even though you don't get a good look at her, the voice is unmistakable. Robert Blake, as Mike's neighbor Jerry is credited, but Bobby Driscoll (as Bobby, the boy on the train) is not. This was Mr. Driscoll's film debut (TCM article).
Radio versions of the film would appear on the Lux Radio Theatre in June 1944, with Mr. Craig, Ms. Hunt, and Ms. O'Brien reprising their screen roles, and in December 1946 with Ms. O'Brien again enacted Alpha on Academy Award Theater. The story had been written specifically for Ms. O'Brien at Louis B. Mayer's orders (he wanted her to be the next Shirley Temple).
After reading Bosley Crowther's review of the picture in the New York Times , we wondered if he had seen the same movie as we did. Variety, however, did enjoy the film, as did my fellow blogger at Laura's Miscellaneous Musings. We'll leave you with the meeting of Alpha and Mike, and the suggestion that you settle down in front of the TV with this little gem. It's an evening well spent.
TCM hosted another Fantom Event this weekend - a double feature of two excellent Christmas films. I'll be posting about both of them, starting with the 1938 A Christmas Carol, starring Reginald Owen as Ebenezer Scrooge. A later post will deal with the second feature on the double bill. In the spirit of total honesty, I'm going to admit right off that my favorite Christmas Carol is the Alistair Sim version from 1951. My husband is a fan of The Muppet Christmas Carol (Michael Caine as Scrooge). And I have a fondness for Mr. Magoo's Christmas Carol as well (I love the music). But this version, with Gene Lockhart as Bob Cratchit, and real life wife Kathleen Lockhart as Mrs. Cratchit is excellent (oh, and there is also young daughter June in an unbilled appearance as Belinda Cratchit). It does alter the book in many respects. We get much more exposure to Scrooge's nephew, Fred (Barry McKay) and fiance Bess (Lynne Carver) than in the book. That's not a bad thing, but does skew the story a bit. We also have an incident in which Scrooge fires Bob Cratchit on Christmas Eve (for hitting him with a snowball). THAT is a big change from the book, and very much changes the dynamic of the story. While we gain a more preoccupied Bob, we lose so much of his Christmas spirit - remember that, in the book, to the dismay of Mrs. Cratchit, Bob insists on toasting "Mr. Scrooge, the founder of the feast" in the Christmas Present visit. This Bob has no reason to toast Scrooge - and does not. To my mind, the elimination of this brief dialogue is unfortunate, because, in one sentence, you can appreciate the genuine goodness of Bob Cratchit.
That being said, seeing A Christmas Carol in a theatre is a moving experience. Reginald Owen plays Scrooge as a man looking for redemption. Certainly, it is a short film (only 69 minutes. Both the Alistair Sim version and the Muppet version are 85 minutes), so Owen doesn't have a whole lot of time to accept his future, but he is believable as someone who faces his destiny and resolves to be a better person. Owen was not the first choice for the role. For years, it had been performed on radio by Lionel Barrymore, and MGM was eager to have him recreate the role on screen. However, Barrymore broke his hip on the set of Saratoga, and was unable to participate in the film. Always a gracious man, Barrymore consented to do the trailer for the film (as this TCM article points out, in the 1930's, Barrymore WAS the character of Scrooge to the general public), and handed over the radio broadcast for 1938 to Reginald Owen, so there would be no unfair comparison. Though bitterly disappointed that he would be unable to enact the part, Barrymore suggested Owen for the role, and supported his substitute as much as was possible. Interested in hearing Mr. Barrymore's interpretation? Old Time Radio has a recording of the Campbell Playhouse production, hosted by Orson Welles.
I'll end with the beginning of the Scrooge's journey towards redemption. Pictured above is Leo G. Carroll as the Ghost of Jacob Marley. I felt that Carroll played to the ambiguity of the character - Marley, a selfish and grasping man in his lifetime, reaches out to his old partner to try and help him to avoid Marley's fate. Will Marley receive some heavenly brownie points for this effort? It's not clear from the dialogue between the two, but Carroll's is on a man more concerned with his old friend than with any credit he will garner. See if you agree.
Here's the trailer, with commentary from Lionel Barrymore, himself.
