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Lillie runs a boarding house full of young bachelors. A friend writes to say she's sending her little darling daughter for a visit. The bachelors all buy toys for a little girl, but an attractive young woman gets off the train instead.





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Credited cast:
Little Darling
Rest of cast listed alphabetically:
Charles Avery ...
In Boarding House
Verner Clarges ...
In Boarding House
John R. Cumpson ...
In Boarding House
Arthur V. Johnson ...
In Boarding House
James Kirkwood ...
In Store
In Boarding House
George Nichols ...
In Store
Anthony O'Sullivan ...
In Boarding House
Lottie Pickford
Billy Quirk ...
In Boarding House
Gertrude Robinson ...
In Store
In Boarding House
Kate Toncray


This might be termed a comedy of errors, for the overzealousness of a lot of good-hearted simple folks places them in a rather embarrassing position. Lillie Green, who keeps a boarding house, receives a letter from her old school chum, Polly Brown, whom sin hasn't seen in years, to the effect that as Lillie has never seen her little darling daughter, she will send her for a few days' visit, asking that someone meet the child at the 3:40 train. Lillie's boarders are a bunch of kind-hearted bachelors, who at once prepare to give the "Little Darling" the time of her life, buying a load of toys, etc., for her amusement, also procuring a baby carriage with which to meet her at the train. You may imagine their embarrassment when they find that Tootsie, instead of being a baby, proves to be a handsome young lady of seventeen, whose tastes run rather to garden gates, shady lanes and quiet nooks, than toys. Written by Moving Picture World synopsis

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Short | Comedy





Release Date:

2 September 1909 (USA)  »

Filming Locations:

Company Credits

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Technical Specs


Sound Mix:

Aspect Ratio:

1.33 : 1
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Did You Know?


Released as a split reel along with the drama The Sealed Room (1909). See more »

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User Reviews

Whip Pan
10 June 2004 | by (London, England) – See all my reviews

Even with two minutes worth of footage, the 34 year old D.W. Griffith still doesn't make use of the camera as a person. There are no whip pans in this offering, neither does the camera push back the boundaries of the tale by guiding our eyes to some point of truth. It appears to me that Griffith does not how to guide the audiences' eyes in his storytelling. The camera constantly remains passive like a truck parked sideways on a motorway. The lack of visual probing from the camera gets in the way of the film, restraining us in our seats. If the camera moves, then the audience are engaged in the plot, pushing them deeper into the story.

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