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Twinkletoes (1926)

Passed | | Crime, Drama, Romance | 28 November 1926 (USA)
"Twinkletoes" Minasi wants to be a great dancer like her deceased mother. Twink meets Chuck Lightfoot, a noted prizefighter, who falls in love with her at first sight. She tries to avoid ... See full summary »

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Cast

Cast overview, first billed only:
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Chuck Lightfoot
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Dad Minasi
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Cissie Lightfoot
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Hank
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Roseleaf
John Kolb ...
Bill Carsides (as John Philip Kolb)
Julanne Johnston ...
Lilac
William McDonald ...
Police Inspector Territon
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Unknown Role
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Unknown Role
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Unknown Role
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Unknown Role
Aggie Herring ...
Unknown Role
Harold Lockwood ...
Unknown Role
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Storyline

"Twinkletoes" Minasi wants to be a great dancer like her deceased mother. Twink meets Chuck Lightfoot, a noted prizefighter, who falls in love with her at first sight. She tries to avoid falling in love with Chuck, whose wife, Cissie, is a drunken harridan and more than a little bit spiteful. Meanwhile, Twink has secured a job in a singing-dancing act in a Limehouse theater, under the auspices of Roseleaf, who has more than just a protective interest in the girl. The jealous Cissie discovers that Twink's sign-painting father also has a night job as a burglar, and she turns him into the police. While a big success dancing on the stage, the arrest of her father has left her somewhat down in the dumps, and she decides to toss herself into the Thames. Possibly, the now-free Chuck, since Cissie has been killed in an accident, might come along and rescue her. Written by Les Adams <longhorn1939@suddenlink.net>

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Dainty Coleen Moore outdoes all her previous performances in delightful and piquant characterization of "Twink," the dancing girl of London's Lime-House! (original ad) See more »

Genres:

Crime | Drama | Romance

Certificate:

Passed
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Details

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Release Date:

28 November 1926 (USA)  »

Also Known As:

A Pequena do Bairro  »

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Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

Twinkletoes was Colleen Moore's fourth and final film of 1926. See more »

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User Reviews

 
Plucky Colleen Moore wins love and stardom

An example of an improbable genre, this silent musical, released for Christmas 1926, makes an agreeable light entertainment, at least until it collapses into a subplot of virginity threatened. As a vehicle for Colleen Moore, who personified flaming youth in a series of jazz-age comedies, it illustrates how this star's image sidestepped the sexual challenge of contemporaries like Clara Bow and Joan Crawford.

Here, in a project that she guided herself, she goes blonde as an aspiring dancer, devoted to her dear old Dad, tempted by an unhappily married local boxer, but targeted by a leering seducer. Throughout this plot, set in Cockney London, her working-class heroine remains good-hearted, relentlessly perky, yet fundamentally innocent. She leaps into a street melee, climbs ladders, rescues a child from a beating, and slugs a disbeliever in her stardom. (Throughout four dance numbers, Moore neither disgraces nor distinguishes herself.)

Director Charles Brabin works up some flavorful Limehouse atmosphere, staging a spirited street brawl for the opening. However, only one sequence- a romantic scene on a stairway when Moore realizes that she loves the boxer -reveals distinctive cinematic choices. The visual sophistication seen in Brabin's MASK OF FU MANCHU in 1932 is absent, apart from some prism shots to express a state of tipsiness.

Among the routinely sentimental figures, Gladys Brockwell hits a strikingly realistic note as the hero's snarling drunken wife, but the character of "Roseleaf", the producer who threatens Moore's virtue, has an anti-semitic subtext that seems borderline offensive (Warner Oland would redeem his role the next year by playing Al Jolson's rabbi father in THE JAZZ SINGER).


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