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A Dog of Flanders (1935)

Approved | | Drama | 22 March 1935 (USA)
Tentative adaptation of Ouida's sentimental classic about a poor Flemish boy (Frankie Thomas) whose ambition is to become a painter.



(novel), (adaptation) | 1 more credit »
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Complete credited cast:
Frau Ilse Cogez
Pieter Vanderkloot
Herr Vanderkloot
Frau Vanderkloot
Herr Herden
Monsieur de LaTour (replaced by Henry Kolker) (scenes deleted)
Frau Keller
Lightning ...
Leopold, 'Leo' the dog


Tentative adaptation of Ouida's sentimental classic about a poor Flemish boy (Frankie Thomas) whose ambition is to become a painter.

Plot Summary | Add Synopsis




Approved | See all certifications »




Release Date:

22 March 1935 (USA)  »

Also Known As:

El perro de Flandes  »

Company Credits

Production Co:

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Technical Specs


Sound Mix:

(RCA Victor System)

Aspect Ratio:

1.37 : 1
See  »

Did You Know?


A contemporary news item listed Henry Kolker in the cast, but he never appeared. See more »


Frau Ilse Cogez: [Herr Cogez is upset that his daughter is associating with lower class people] What is it Carl?
Carl Cogez: Again our Maria is off with that shabby boy, Nello.
Frau Ilse Cogez: Well, Carl, what harm can come of it? They're just two children. They...
Carl Cogez: Enough, Ilse. You are a woman, and therefore a fool.
See more »


Referenced in Patrasche: A Dog of Flanders, Made in Japan (2007) See more »

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User Reviews

And Dream of More
12 March 2010 | by (New York City) – See all my reviews

The acting in this version of Ouida's sentimental story of a poor young boy who wants to be an artist definitely has its issues in terms of speaking lines; even O.P. Heggie, usually a very reliable talent, is poorly modulated. This I lay solely at the feet of the director, Edward Sloman, who had been directing for twenty years.

However, even though a dialog director might have aided some of the performances, the visuals in this are outstanding -- a hallmark of Sloman's work and veteran cinematographer J. Roy Hunt. The voice direction may be poor, but the physical acting is just fine. Given the story -- and the dialog -- references to Rubens, it should come as no surprise that the images refer to the artist, and make the point of the story thereby: that beauty is everywhere for those who can see it, and that faith hope and charity will be rewarded.

This may seem a naive sentiment in this day and age, but when was there a day and age where these virtues were not threatened? Surely a simple story is the place to begin to tell a simple tale.

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