Red-Haired Alibi

Assembly line drama that gets more ridiculous as it goes along. Very early Shirley Temple flick, she is NOT the Red-Haired Alibi of the title, she's precious but for one of the few times in her career not entirely relaxed on screen. It's not surprising considering she had just turned four but she was always so effortlessly natural on screen it's a bit odd to see her obviously waiting for her cue at times. She's only in the film for about 5 or 6 minutes tops.

As for the rest of the film it's the standard tale of a naive girl who gets in over her head with a gangster who she doesn't realize is leading her astray and then is trapped when she gets wise and tries to break free.

"Lynn" (Merna Kennedy) is fed up with her mundane life and looking for a job in New York. Luckily, she alights on the dodgy "Travers" (Theodore von Eltz) who offers her an opportunity. All she has to do is be seen with him. She looks great, is well paid and housed and for a moment or two, there is even the threat of a romance on the horizon. Gradually, though, she begins to realise that he is an out-and-out wrong 'un and when another mobster is gunned down and he goes into hiding, she flees. Good fortune is again on her side when she re-encounters "Shelton" (Grant Withers) who is in need of a nanny for his daughter "Gloria" (Shirley Temple). This romance does blossom but has she seen the last of her erstwhile boss? The stories - there are essentially two, here - are nothing much to write home about, but I did rather like the ending and Kennedy has a certain chemistry with the camera that easily enables her to out-act her male counterparts. Temple is also a natural in front of the lens, and though she doesn't really feature very often, she does bring a little charm to this otherwise watchable, but rather by-the-numbers, romantic thriller.

This movie was okay, but nothing special, except that it was the film debut for that soon-to-be child star, the adorable Shirley Temple! Not every actress gets to make her screen debut at age 4, and for those reviewers who seem to think her acting wasn't up to par, I'll repeat: AGE 4!!! Enough said!

As for the movie, I like the way the heroine's hair color plays such a role in the story, as she's used as an alibi for her gangster boss to busy himself with his "career", while his "wife" provides his excuse for his dastardly deeds. Until she doesn't.

I guess you can't blame her too much; it was the depression, this charismatic strange offers her money and an apartment and all she has to do is pretend to be his wife (no mistress duties necessary).

When she realizes the truth about him, she leaves for a better life (nanny for a divorced man with an adorable little daughter, both abandoned by the immoral wife/mother), and soon becomes a happy wife/stepmother. Then Mr. Gangster returns!

If this movie had been made to years later, it would have had a different, not-so-happy ending (despite the mysterious man outside the window to absolve the guilt), as crime (whether attempted or actual) has to have punishment. Lucky this was Pre Code days.

A few months after her roles in the 'Baby Burlesks' series ended, small film studio Tower Productions, signed Shirley Temple for her feature film debut, September 1932's "The Red-Haired Alibi," marking the first time her name was listed in the credits. Shirley just turned four when she appears as the daughter of Bob Shelton (Grant Withers), a wealthy single-parent who meets Lynn Montih (Merna Kennedy). Bob hires Lynn to be a governess for his daughter, Shirley, who receives an abundant of screen time showcasing her adorable face. Bob and Lynn fall in love and marry. Little does Bob know Lynn had been working for a gangster, Trent Travers (Theodore von Eltz), as a 'companion.' Things get sticky when Trent makes his appearanc, asking Lynn for big bucks, or he'll squawk like a canary.

When the Marx Brothers were filming "Horse Feathers," Shirley and her mother were walking nearby where the four were taking a break. Harpo immediately saw the cuteness oozing all over Shirley and approached her mom. He offered $50,000 for the chance to adopt the young girl. The mother naturally refused his offer. Maybe she instinctively knew a bright future awaited her young daughter.

Very fine performances denote this crisp romantic drama, tightly directed by B movie specialist Christy Cabanne. It has some beautiful touches at just the right moments to make it a memorable little movie.

1932 is my personal favorite year for movies, from some classics to solid sleepers like the great, unsung comedy "This Is the Night". "Red Haired Alibi" is the sort of film that sneaks up on you -it seems to be conventional and even ordinary, but cumulatively, brick by brick, builds up to pack an emotional wallop.

The story of a naive girl who fate has a few key twists to throw at her is rather simple, but the snappy dialogue, utterly sincere characterizations and careful manipulation of genre cliches works wonders to both grab the viewer and then create an emotional investment in the archetypal roles. Merna Kennedy is no superstar, but instead convincingly represents a "smart" young woman, who rolls with the punches and maintains her poise throughout both luck and hardship, just what is needed for a depression-era heroine. Theodore Von Eltz is near-perfect as the transparently immoral, smoothie of an antihero, upfront with his misogyny yet likable in a sleazy Ricardo Cortez way. It helps to create interest in watching his behavior while creating enough distance to make his fate acceptable to the viewer.

I loved the climax where Merna takes charge, and with the irresistible Third Act presence of Shirley Temple as her stepdaughter the heart-warming finale is simply terrific.