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Bright Eyes (1934)

7.2
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Ratings: 7.2/10 from 1,241 users  
Reviews: 17 user | 11 critic

An orphaned girl is taken in by a snobbish family at the insistence of their rich, crotchety uncle, even as her devoted aviator godfather fights for custody.

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(screen play), (story), 2 more credits »
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Title: Bright Eyes (1934)

Bright Eyes (1934) on IMDb 7.2/10

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Cast

Complete credited cast:
...
James Dunn ...
...
Mrs. Higgins
Judith Allen ...
Adele Martin
...
Mary Blake
Charles Sellon ...
Uncle Ned Smith
Walter Johnson ...
Thomas
...
Joy Smythe
Theodore von Eltz ...
J. Wellington Smythe (as Theodor von Eltz)
Dorothy Christy ...
Anita Smythe
Brandon Hurst ...
Higgins
...
Judge Thompson
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Storyline

When a maid is accidentally hit by a car and killed, her young orphaned daughter is forced to live with the snooty couple she used to work for. A custody battle soon ensues between an aviator who adores the little girl and the couple's crotchety Uncle Ned. Written by Daniel Bubbeo <dbubbeo@cmp.com>

Plot Summary | Plot Synopsis


Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

28 December 1934 (USA)  »

Also Known As:

Shirley aviatrice  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

(FMC Library Print)

Sound Mix:

(Western Electric Noiseless Recording)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

The aviators in the plane during the "On the Good Ship Lollipop" song sequence were all volunteers from the football team at the nearby University of Southern California. See more »

Goofs

When Shirley is out with Joy giving their dolls buggy rides and Joy wants to operate on Shirley's doll, Shirley says she doesn't want Mary Lou to be operated on. But the doll she actually has is not the small one she named Mary Lou, it's the larger one named Lupee given to her by the aviators. See more »

Quotes

Mrs. Elizabeth Higgins: It's just a bit of a Christmas gift for Shirley.
Mary Blake: You're so kind. I bought a few things for her, not very much of course. Things were different when her father was alive.
Mrs. Elizabeth Higgins: Yes, the poor young fellow. But it must be a comfort to know you're doing all you can for her. She's such a sweet child. Not like that Joy. There's a brat if ever one lived.
See more »

Connections

Referenced in Mystery Science Theater 3000: Soultaker (1999) See more »

Soundtracks

Jingle Bells
(1857) (uncredited)
Music by James Pierpont
In the score during Christmas
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Shirley fiddles while Jane burns!
11 April 2001 | by (United States) – See all my reviews

Rare is the scene in a Shirley Temple film where Curly Top is reduced to a mere spectator while another actor grabs the spotlight and runs screaming with it, but Bright Eyes has them in bunches! See Shirley gasp as human pit bull Jane Withers dismembers a doll before her very eyes! Tremble with fear as Shirley flees from her possessed playmate when their Santa Claus discussion takes a nasty turn! And if you think young Joy is a terror now, imagine how bad she'd be without psychoanalysis. In the movie's far too numerous non-Jane scenes, Shirley reverts to her old role as top banana with predictably charming results. No Shirley Temple film can really get rolling until her parents have been killed, so Mother is done in about half-way through, while Dad offs it before the opening credits, freeing our young pixie for another delightful custody battle. (By the way, do you suppose kids of the 1930's took a secret satisfaction in watching Shirley's parents get systematically rubbed out in every one of her movies? After all, her new parents were always a step up from the old ones; richer, prettier and usually much more fun. Life as an orphan might not have looked so bad to a depression-era tot after seeing a Shirley Temple picture.)

In conclusion, this movie is highly recommended for Shirley's fans and foes alike. Watch it for Shirley's smile or Jane's scowl, and stay tuned till the end. You won't want to miss the most satisfying closing shot in the history of cinema.


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