Flavia's been told that her Aunt Susan's fiancé, Steve, has been on a trip around the world, but in truth he's finished his prison term. Steve wonders how he can make some money and is ... See full summary »
Flavia's been told that her Aunt Susan's fiancé, Steve, has been on a trip around the world, but in truth he's finished his prison term. Steve wonders how he can make some money and is approached by his old associates. When Flavia discovers the truth about Steve, she loses all faith in her family and in God, and it will take a miracle to restore Flavia's belief and Steve out of trouble. Written by
Filmed between March 11 and May 15, 1946, with retakes shot in April 1947, the movie was held back until its nationwide release on February 20, 1948. Moreover, the picture was not given a contemporary New York Times review. See more »
When Flavia picks up the bundle of papers in the rain, it is thick and covered in paper. When she gets across the street and gives the papers to Blind Mac, they are uncovered and the stack isn't near as thick. See more »
O'Brien's sunny impertinence gets a real workout, however the theme of childhood beliefs is quite strong...
Margaret O'Brien doesn't look or sound like a Depression-era tyke from the New York tenements who knows everybody on her block and what they're up to...however, she's self-assured on the screen and pretty much carries the day here. Thin story has an optimistic neighborhood girl heartbroken to learn that all those 'little white lies' adults tell children (such as one about mice turning into money) are just made-up stories, though she comes to rely on one about kneeling cows in order to save her dying mother's life. M-G-M tinkered with this thing in post-production for 18 months, and then only released the picture sporadically. One can see early on there simply wasn't enough material here for a feature, with a side-plot regarding O'Brien's aunt getting reacquainted with an ex-con sweetheart used simply as filler. Still, there's a maniacally patriotic speech given by little Margaret on the Fourth of July that has to be seen to be believed, and the finale (though engineered for heart tugging) is effective. The editing and continuity are predictably bad considering the film's internal troubles and reshoots, yet O'Brien roller-skates through it all rather blithely. ** from ****
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