Dimples

DIMPLES, a precocious little tot in the New York City of 1850, must decide between life with her penniless but charming rogue of a grandfather & a wealthy old lady who loves her.

Shirley Temple, that pint-sized package of amazing talent & energy, delights once again. Her megawatt smile & boundless vivacity are only the outward manifestations of her unique personality & status which still keeps her - after so much time - Hollywood's greatest child star.

Frank Morgan, who had honed his scene stealing techniques for decades before Shirley was born, plays her grandfather. Given good lines, he was the rare actor who could dominate the dialogue even at the mighty tyke's expense. He is constantly entertaining to watch and adds greatly to the enjoyment of the film. His classic role would come a few years later when he was to portray THE WIZARD OF OZ, over at MGM.

The supporting players all give solid performances, most notably Helen Westley & Berton Churchill. John Carradine & ubiquitous child actor Leonard Kibrick both have small roles. Movie mavens will recognize Stepin Fetchit, unbilled as Morgan's servant.

The romantic subplot, consisting of Robert Kent trying to choose between Astrid Allwyn & Delma Byron, is a dull affair - as is usual in most Shirley Temple films.

Shirley sings `What Did The Bluebird Say,' `He Was A Dandy,' and, with The Hall Johnson Choir, `Get On Board, Little Children'. Although he does not appear in the film, the legendary Bill Robinson choreographed Shirley's tap routines; his influence is readily apparent.

It has to be mentioned that there is quite a lot of racism in the film. It should also be noted that this was not an unusual situation in Hollywood films of the 1930's.

Stepin Fetchit was at the height of his "fame"(???) in 1936,but for some reason he's unbilled here.

If has-been actor and kleptomaniac Frank Morgan doesn't shape up he's going to lose custody of Little-Miss-Cutie-Pie-you-Know-Who. Luckily,Shirley has melted the heart of a rich old lady(when doesn't she?).

I'm intrigued by Robert Kent as the leading man---I remember him firmly as the murderer in CHARLIE CHAN IN MONTE CARLO(1937).

My DVD has B&W and colorized versions--you might want to watch to "Dixiana" finale' in color;as it is the most elaborate number in the film.

And by the time Shirley finishes her death scene in UNCLE TOM'S CABIN,there won't be a dry eye in the house.

Boy, I really liked this Shirley Temple film the first two times I saw it when I owned it on tape. Then, after a fairly long hiatus, I bought the DVD and didn't find it nearly as entertaining as I had before. Having a poor transfer on DVD didn't help. Subsequently, Fox has re-issued these with much better quality (on those 3-pack Temple collections) but I doubt if I'd re-purchase this again.

Anyway, I still liked all the songs and dances, especially the ones earlier in the film. There are a few more numbers here on than on most of her movies, which is fine with me. Temple is still cute and winsome as ever and there are no evil- nasty villains in here, for a change. Yet, Frank Mogan can be a bit annoying and Stepin Fetchit is just plain aggravating. Fortunately, he has a minor role without much dialog.

In summary, a decent Shirley Temple movie but she made at least a handful of others during this time period that were much better It's still a sad comment there are only six reviews of this. Don't people appreciate this girl's talent? She is a legend.

As one of several films Shirley Temple made for Fox Studios in 1936,"Dimples" is also an underrated favorite of mine and it shows why. Temple plays Dimples,a young street corner singer whose beloved grandfather (played by Frank Morgan of "Wizard Of Oz" Fame) is a pick-pocket thief a la Oliver Twist's Artful Dodger. Meanwhile a stage production of "Uncle Tom's Cabin" is being performed with Dimples in a supporting role. The film ends with an exciting and memorable musical number with Temple and Stepin Fetchit around blackfaced actors which was directed by Bill Robinson. Director William A. Seiter (Laurel & Hardy's "Sons Of The Desert") does a great job with the well-done cast and storyline which may or may not appeal to today's political incorrect audiences but it's a fun and enjoyable film to watch with memorable songs and sequences. Recommended ! James Welch Henderson Arkansas 6/4/21.

People are often made uncomfortable by elements that reveal racial attitudes in old movies, but those elements can make the movie fascinating. "Dimples", which is set in the 1850s before the Civil War, often makes explicit references to slavery and also reveals 1930s stereotypes. (Also, the movie keeps referring to "the depression," drawing parallels to the '30s.)

The opening legend calls attention, with deliberate irony, to the fact that some young radicals are questioning "that respectable institution of slavery". Then we see Shirley dancing with black and white street orphans, implying that they are equal in their economic straits. Stepin Fetchit has an important but unbilled role as Frank Morgan's servant (who isn't a slave, but isn't getting paid either). Black servants are shown everywhere, especially at Mrs. Drew's house.

Two plot points are important. The central question is whether Mrs. Drew will "buy" Shirley for $5000, and the characters go back and forth on this question. On the night of the debut of the "Uncle Tom's Cabin" play, Mrs. Drew arrests Frank Morgan (in disguise as Uncle Tom). Then while watching Shirley's death scene in the play, where she begs for Uncle Tom to be free, Mrs. Drew "frees Uncle Tom" (letting Morgan go). Shirley converts Mrs. Drew's impulse to "enslave" people.

We see (with historical accuracy) that the play uses white actors in blackface--but in a curious twist, the play closes with a "new entertainment from the South," a minstrel show with the actual black performers (including Fetchit) pretending to be white actors in blackface. These elements make some viewers uncomfortable, but if you can watch critically, it reveals how the movie was attempting at some level to recognize and deal with unpleasant realities of U.S. history and address freedom, equality, and integration in disguise as entertainment. The Hall Johnson Choir appear, and Bill "Bojangles" Robinson choreographed the dances.