With her husband in the Klondike searching for gold, MRS. WIGGS OF THE CABBAGE PATCH (the poor part of town) valiantly strives against heavy odds to care for her five children.
Based on the book by Helen Hegan Rice, this is a wonderfully sentimental look at a bygone era of Americana. While it is easy and perhaps even fashionable to scoff at films which touch the emotions, there is absolutely nothing wrong with sentimentality if the sentiment expressed rings honest & true. There are no false notes here.
Noted stage actress Pauline Lord (1890-1950), in the first of only three film appearances, is heartrending in the title role. Gentle & patient, she is the very epitome of loving motherhood. ZaSu Pitts (1898-1963), with vague voice & fluttering fingers, gives a noteworthy performance as the Wiggs' spinster neighbor. Had events proceeded differently and her contributions to von Stroheim's GREED justly appreciated, Miss Pitts would have been recognized as one of the screen's greatest tragediennes. Instead, she orbited into comedic roles, constantly portraying a nervous, scatterbrained female, a sort of living, breathing, Olive Oyl.
Following the film's most sorrowful sequence, director Norman Taurog wanted to introduce a light touch to the succeeding scenes. The inimitable W. C. Fields was brought in for one week's work to play Miss Pitts' gustatorial suitor. Although in much pain from a torn ligament, he is splendid, delivering what is almost a dress rehearsal for his subsequent characterization of the marvelous Micawber. His scenes with Miss Pitts are a special delight, mixing blustery braggadocio with humor & pathos.
The romantic angle is nicely underplayed by Evelyn Venable & Kent Taylor, portraying upper echelon protectors of the Wiggs family. Charles Middleton does well as the obligatory villainous landlord. Young George P. Breakston is especially good as the ethereal Jimmy; and Donald Meek scores in his tiny role as Mrs. Wiggs ineffectual husband.
Movie mavens will recognize Arthur Housman in his typical role of an inebriate & Dell Henderson as the theater manager, both unbilled.
Tender & charming, here is a film which the receptive viewer should cherish.
Based on the book by Helen Hegan Rice, this is a wonderfully sentimental look at a bygone era of Americana. While it is easy and perhaps even fashionable to scoff at films which touch the emotions, there is absolutely nothing wrong with sentimentality if the sentiment expressed rings honest & true. There are no false notes here.
Noted stage actress Pauline Lord (1890-1950), in the first of only three film appearances, is heartrending in the title role. Gentle & patient, she is the very epitome of loving motherhood. ZaSu Pitts (1898-1963), with vague voice & fluttering fingers, gives a noteworthy performance as the Wiggs' spinster neighbor. Had events proceeded differently and her contributions to von Stroheim's GREED justly appreciated, Miss Pitts would have been recognized as one of the screen's greatest tragediennes. Instead, she orbited into comedic roles, constantly portraying a nervous, scatterbrained female, a sort of living, breathing, Olive Oyl.
Following the film's most sorrowful sequence, director Norman Taurog wanted to introduce a light touch to the succeeding scenes. The inimitable W. C. Fields was brought in for one week's work to play Miss Pitts' gustatorial suitor. Although in much pain from a torn ligament, he is splendid, delivering what is almost a dress rehearsal for his subsequent characterization of the marvelous Micawber. His scenes with Miss Pitts are a special delight, mixing blustery braggadocio with humor & pathos.
The romantic angle is nicely underplayed by Evelyn Venable & Kent Taylor, portraying upper echelon protectors of the Wiggs family. Charles Middleton does well as the obligatory villainous landlord. Young George P. Breakston is especially good as the ethereal Jimmy; and Donald Meek scores in his tiny role as Mrs. Wiggs ineffectual husband.
Movie mavens will recognize Arthur Housman in his typical role of an inebriate & Dell Henderson as the theater manager, both unbilled.
Tender & charming, here is a film which the receptive viewer should cherish.