Mokey

A must see movie for classic movies fans, as well as fans of Debbie Reynolds, Robert "Bobby" Blake, Dan Dailey, or Sam McDaniel. Debbie Reynolds give an A+ performance. A rare treat to see Robert Blake, best known in my generation for his lead role in the "Baretta" television series, or as the movie star accused of murder, as a cute kid. I would give it a ten, if it weren't for the Negro stereotypes, that were a bit overdone, even for 1942, complete with the usual antics of Buckwheat. I'm sure this movie would have an overall higher rating, if it weren't for those stereotypes. But, if you keep an open mind, it is a real treat. Thanks to MGM for another great movie! By the way, Etta McDaniel also appears in this movie.

This was a fun movie to watch. A good role for 21 year old Donna Reed in a movie sandwiched between her roles in an Andy Hardy and a Dr Kildare film. A very good view of how the "system" handled juvenile delinquency in those times. I didn't know the movie existed till I was channel surfing on Wed 3/16/05 and came across it. The movie played on TCM from 3:30 to 5:00 CST. At the same time on Court TV there was the live broadcast of the verdict in Robert Blakes trial for the murder of his wife. The verdict being read at 4:30 CST. Coincidence?? Maybe, but I doubt it. Sure was fun scooting back and forth between the Channels though.

Take care.

• Dan O'Merderwun

I have read all of what was said about this movie. Yesterday was the first time that I have ever seen this movie. I enjoyed it. I like the way that the movie gave the "Black characters more freedom". What I didn't like was the first time that this young child meets his new step mom she calls him Dummy and she did it several times. That really disturbed me I had to but on the caption button to make sure that I was hearing correct. All this little boy needed was some love and understanding, and he would not have been in so much trouble. Because to me he was a normal 8yr old boy, and boys will be boys. Even when he ran away and was gone for several weeks and the father finally found him; He beat him and left the very next day. He being a father should have taken the time and stayed with his son a day or so more and talked to him and try to find out the problem. But in all I though this movie was cute. And to see Robert Blake at such a young age being so cute brought back memories of the Little Rascals.

Mokie(Robert Blake - yes the "Barreta" guy) is an 8 year old kid who just can't seem to stay out of trouble. Mokey seem to want to foreshadow Robert Blake's later adult life as a troubled little kid who's Mom has died and new stepmom (Donna Reed) can't control him no matter how hard she tries. "Mokey" is an interlude between Blake's "Our Gang" appearances and also includes "Little Rascals" co-star "Buckwheat". It has some interesting scenes with Buckwheat and his friends which is unusual for its time. Mokey's Mom must ultimately decide how important this new marriage and her new step son are.

MOKEY (1942) is a low-budget MGM melodrama set in a poor southern town where blacks and whites live in close proximity. Young Mokey (eight-year-old Robert Blake, a member of the "Our Gang" cast at the time) lives in a small but fairly comfortable house while his three closest friends, black siblings (two boys and one girl), live in a much more ramshackle place a short distance away. Mokey's guardian is a black maid (Etta McDaniel), who doesn't have much patience with Mokey and leaves the job when Mokey's dad remarries. (She later comes back temporarily.) The three black children (played by Cordell Hickman, William "Buckwheat" Thomas, and Marcella Moreland) live with an older woman, Aunt Deedy (Cleo Desmond), who is not their "blood kin." When Aunt Deedy gets sick she calls in a traditional healer, a "conjure woman" played by veteran black actress Madame Sul-Te-Wan (who was in D.W. Griffith's BIRTH OF A NATION). There are a total of seven black speaking parts, four of them quite substantial. A middle section of the film has Mokey running away from home and living with the black children as their cousin "Julius." They do him up in blackface and give him a cap to cover his straight hair. It fools Aunt Deedy—for more than three weeks! She doesn't bathe him or check his hair the whole time. The town searches high and low for Mokey but three weeks go by before Mokey's father (Dan Dailey) thinks to question Mokey's black friends about his whereabouts, which gives some idea of how invisible the black population was despite being so close. Along similar lines, we witness some disapproval on the part of Mokey's new stepmother (Donna Reed) after Mokey has introduced his three black playmates to her. When she later asks Mokey if he has any friends and he replies that she's already met them, she then asks, "But don't you have any other friends?," clearly implying that those three aren't good enough for him.

The young black actors are quite good, especially Cordell Hickman, who was active in the 1940s and, in the performances of his I've seen, always carried himself with a certain dignity. (He's best known for playing the white protagonist's close companion in THE BISCUIT EATER, 1940.) The little girl, Begonia (Marcella Moreland, daughter of actor Mantan Moreland), is quite sassy and addresses Mokey and the other white playmates as "white boy," with more than a hint of condescension. William Thomas, better known as "Buckwheat," was Robert Blake's co-star in the "Our Gang" series. The black characters speak in southern dialect, sometimes a tad more exaggerated than necessary.

My point in laying out this detail is to call attention to the extent of the film's investment in black life. We often see black characters in subservient roles in films from the 1930s and '40s, but we don't often see their lives away from the white folks. Here we do and it's quite refreshing. There are other films like this I can cite, but I'd most like to single out the horse-racing melodrama, MARYLAND (1940), which has a whole subplot set in the segregated black society which supplied the workers for the horse industry in Maryland at the time. I've reviewed that film on IMDb and my review is the only one to cite this subplot.

When I read comments complaining about racial stereotypes in films like MOKEY, I can only think that the tendency towards political correctness wants to whitewash this country's history. Without these characters we wouldn't get to see these remarkable performances by black actors trying to inject humanity into the stereotypes. It's easy to dismiss stereotypes when you don't see these characters as human beings. Which begs the question of who's the most racist. The creators of these films who sought to include black people in them to a degree that was rare in that period or the politically correct critics of today? Isn't the film somewhat noteworthy for at least acknowledging the racism of that time and setting rather than denying it?

For the record, Jim Gallaher, the son of the man who was the basis for the Mokey character, reports in a review here that his father did indeed live with a black family under an assumed name when he'd run away and traveled far from home, but is doubtful that he ever wore blackface. I'm assuming that because Mokey stays so close to home after he's run away in the film, the screenwriter had to come up with a tactic that would plausibly delay his discovery by the townsfolk for a significant amount of time and the blackface gimmick was the only one that could work.

Other reviews have adequately addressed the problematic aspects of Mokey's character and the difficulties such a boy causes for otherwise well-meaning people, so I'll leave that subject to them.