An actress, Julie Beck, finds out that she is ill and has only a short time to live. She becomes taken with Hitty, a young orphan prone to dreaming. Julie soon decides to adopt the child so...
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Among those who are fighting to have Congress re-establish the military academy at West Point in the beginning of the nineteenth century is a young Washington socialite, Carolyn Bainbridge.... See full summary »
An actress, Julie Beck, finds out that she is ill and has only a short time to live. She becomes taken with Hitty, a young orphan prone to dreaming. Julie soon decides to adopt the child so that her husband Bill will not be alone when she dies. After Julie dies, Bill is so grief stricken, he shuts out everyone in his life, even Hitty. Hitty believes she's receiving visits from Julie who offers Hitty advice on how to make Bill happy. Unfortunately, Bill is not charmed by Hitty's efforts to care for him; he does not believe she's seen Julie and wants to send her to boarding school. Rather than leaving Bill, Hitty runs away to find Julie. After Bill hears a record Julie recorded before she died, he finally realizes he must move on with his life and with Hitty. Written by
Daniel Bubbeo <email@example.com>
A charming and moving depiction of love, bereavement and hope regained.
This is indeed a sadly neglected film and the fact that it has never been made available on either video tape or DVD must remain a matter of deep regret. I must wholeheartedly agree that the performance delivered by child actress Connie Marshall is quite outstanding. Cinematic depictions of the effects of bereavement upon children are of necessity somewhat difficult to portray with any degree of conviction and the pitfall of lapsing into overt sentimentality must be avoided. However, certain films, including this one,I think convey something of a young child's pain and confusion regarding death and its consequences without becoming too morbid or sentimental. The scenes where Hitty is apparently visited by the spirit of her adoptive mother remind me very much of the closing sequences in Jacques Doillon's "Ponette" (1996) Are both of these little girls really experiencing a much longed for reunion, if only transitory, with their beloved mothers or does the whole thing exist solely within the realm of imagination a mere psychological device enabling them to accept and so come to terms with their loss? It is up to each individual viewer to construe such matters for themselves.
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