The greatest movie ever made..!

one of my absolute favorites!

Boring, over-political, tech fuzed mess

The acting in this movie is really good.

Little Lord Fauntleroy (1936) Freddie Bartholomew, C. Aubrey Smith, Delores Costello, Guy Kibbee. Made from an 1880's novel by Frances Hodgson Burnett, this is a loving, sweet story of a fatherless boy and his mother and how they come into their own. The grandfather is gruff and unforgiving of his son for marrying a foreigner and going off to America. But all is put right by the sweet grandson, who loves his father's "dearest" as he calls his mother. Called back to England to take his rightful place at the manor, little Lord Fauntleroy is the pride and joy of everyone on the estate in short order. A wonderful film to this day for all who have a heart and are willing to go along with a world of make believe. 8/10

In 1880s Brooklyn, prissy Freddie Bartholomew (as Cedric "Ceddie" Erroll) celebrates his birthday by receiving a beautiful "highwheeler" from widowed mother Dolores Costello (as "Dearest" Erroll). When young Mr. Bartholomew takes the bicycle out for a ride, he is roughed-up by local bullies. But, Bartholomew fights back; and, he receives help from a swell pal, shoeshine boy Mickey Rooney (as Dick Tipton).Dusting themselves off, the lads listen to grocer Guy Kibbee (as Silas Hobbs) rail against "British aristocracy," after learning of their arrival in town. The British are coming, ironically, to take Bartholomew home to England. As it turns out, Ms. Costello's once denounced late husband fathered the only heir to the title "Little Lord Fauntleroy". And, Bartholomew must prepare to inherit grandfather C. Aubrey Smith's Earlship.In England, young Bartholomew (representing American idealism) clashes with gruff Earl Smith (representing British aristocracy). While that storyline reaches an obvious conclusion, there are others that make this film significantly more interesting than expected. Based on the classic story by (underrated) writer Frances Hodgson Burnett, it conveys some of the novel's nuances well, cleverly intertwining class, sex, and politics.In the 1930s, nobody could put a production together like David O. Selznick, and this is one of his best. As usual, they start with a perfectly cast lead. In one of his best parts, Bartholomew fits "Little Lord Fauntleroy" like a glove; he's even better "suited" to the role than was Mary Pickford (in 1921's version). Bartholomew was riding high after supporting Greta Garbo in Selznick's masterfully realized "Anna Karenina" (1935).Mr. Selznick liked to lure legends back before the camera, and succeeds with Ms. Costello; certainly, film-goers in 1936 couldn't help but be impressed with her billing - "Dolores" (a star on her own) "Costello" (as in Maurice) "Barrymore" (as in John) - the latter was used despite the fact that Dolores had recently divorced John Barrymore. Times change; nowadays, C. Aubrey Smith will raise more critics' bushy eyebrows.You also get Mr. Kibbee, providing seasoned counterpoint for the upper-crusted Mr. Smith, and similarly dignified Henry Stephenson (as Havisham). Kibbee's last words reveal the story's one real downer, but he handles the role expertly (and, you see the seeds of Bartholomew's likely post-pubescent rebellion). Watching old/young soul-mates Kibbee and Mr. Rooney perform together is a delight; and, Rooney is likewise marvelous.By the way, note director John Cromwell's simple, but stately, direction; smoothly tracking, he moves the story perfectly. Mr. Cromwell and the Selznick crew make the film into one of the era's better-looking productions. With photography by no less than Charles Rosher and music by Max Steiner, it's unfortunate this lost "Best Picture" received no award notices. If Selznick produced it at MGM, there'd have been nominations.The well-staged street scenes and beautiful sets are obviously highlights, with the opening sequences most impressive - but also noteworthy are simpler scenes. For example, later in the production, as Rooney and Kibbee shine each other's shoes, a singular paperboy is added to the background. Note the horse-drawn carriages, storefronts, and passersby throughout - this film is richly detailed, but never over-decorated.Taking a trip further down the credits, watch for great expressions from maid Una O'Connor (as Mary); the extraordinary Constance Collier (as Constanzia Lorridale), who inspired Joan Crawford and other legends; bratty Jackie Searl (as Tom Tipton), who gave Bartholomew a run for his money; lovable scene-enhancing Jessie Ralph (selling apples); and, listen for Helen Flint (as Minna Tipton) to exclaim, "What a hole!" ********* Little Lord Fauntleroy (4/2/36) John Cromwell ~ Freddie Bartholomew, Dolores Costello, Mickey Rooney, Guy Kibbee

I was familiar with the well-regarded 1980 made-for-TV remake with Alec Guinness and Ricky Schroder of this children's classic. I wasn't expecting this much earlier version to be inferior – especially given that it was a David O. Selznick production – but, as a matter of fact, I think it was just that! The cast is typically well-chosen – Freddie Bartholomew, C. Aubrey Smith, Dolores Costello, Guy Kibbee, Mickey Rooney, Una O'Connor – but the film as a whole fails to rise to the level of contemporary Selznick titles in a similar vein, like David COPPERFIELD (1935) and THE ADVENTURES OF TOM SAWYER (1938). Bartolomew was the top male child actor of his time (before he was superseded by co-star Rooney!) in such contemporary film adaptations of children's classics as the afore-mentioned David COPPERFIELD, CAPTAINS COURAGEOUS (1937), KIDNAPPED (1938), SWISS FAMILY ROBINSON (1940) and TOM BROWN'S SCHOOLDAYS (1940).The main problem here is that the story of a young New Yorker at the turn of the century who finds himself living with his aristocratic (and tyrannical) English grandfather – where his position as heir to the title is questioned by another child, subsequently exposed as an impostor – just isn't all that interesting, and frankly quite corny (especially Freddie's penchant for constantly calling his mother "Dearest" and the way the English-hating Kibbee eventually learns to tolerate them). Even so, I would still be interested in catching the Silent 1921 version with Mary Pickford playing both mother and child!Ultimately, producer Selznick, director Cromwell and actor C. Aubrey Smith would, thankfully, fare much better on their next collaboration – the definitive screen version of another classic story, THE PRISONER OF ZENDA (1937; with which I intend to re-acquaint myself in the coming days).

This altogether lovely, exquisite period piece represents Hollywood filming at its height, no doubt. But what almost destroys its timelessness is the terribly bad condition of the film, reportedly taken from a television showing some years ago, complete with some of the worst damage I have ever seen in an old Hollywood classic. The memory of David O. Selznick deserves better than this shoddy monument to his great vision of the Burnett book. It is simply unforgivable that various "discount" houses continue to offer this and so many other dreadful copies of great films to a gullible and unsuspecting public. The complete restoration of this film is LONG overdue. And the various slashing of scenery, dialogue, for whatever greedy reason, is appalling, just appalling. After having seen so very many films on VHS and now DVD over many years, I submit that this is the most heartbreaking kind of butchery of a great, noble effort of any of the great directors and producers in the long history of American filming. Please, won't someone - the AFI, TCM, restoration companies, ANYONE - step up and lovingly bring this lovingly created film back into the sunshine of clarity, wholeness and beauty???!!! I have little faith in our rapidly decaying culture as we enter the new century, especially when such travesties occur. Once again, there is absolutely NO valid, logical excuse for this. Sorry for popping off so much, but I have watched it all too many times before. To use an offensive word appropriate for my feelings - it's bullshit...