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A society novelist brings a brash young chorus girl home in order to study her for inspiration for his new novel. His family is distraught, but soon her behavior has forever altered their ... See full summary »

Director:

John Ford

Writers:

S.N. Behrman, Maude Fulton (play) | 2 more credits »
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Cast

Complete credited cast:
Sally O'Neil ... The Brat
Alan Dinehart ... MacMillan Forrester (as Allan Dinehart)
Frank Albertson ... Stephen Forrester
William Collier Sr. ... Judge Emmett A. O'Flaherty
Virginia Cherrill ... Angela
June Collyer ... Jane
J. Farrell MacDonald ... Timothy Timson - the Butler
Mary Forbes ... Mrs. Mary Forrester
Albert Gran ... Bishop
Louise Mackintosh ... Lena
Margaret Mann ... Housekeeper
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Storyline

A society novelist brings a brash young chorus girl home in order to study her for inspiration for his new novel. His family is distraught, but soon her behavior has forever altered their snobbish ways. Written by Jim Beaver <jumblejim@prodigy.net>

Plot Summary | Add Synopsis

Genres:

Comedy

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Details

Country:

USA

Language:

English

Release Date:

20 September 1931 (USA) See more »

Also Known As:

La huerfanita See more »

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Box Office

Budget:

$243,093 (estimated)
See more on IMDbPro »

Company Credits

Production Co:

Fox Film Corporation See more »
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Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric System)

Aspect Ratio:

1.20 : 1
See full technical specs »
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Did You Know?

Connections

Version of Girl from Avenue A (1940) See more »

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User Reviews

 
Ford Still Doesn't Get Talkies
6 November 2016 | by bobliptonSee all my reviews

Alan Dinehart is an author looking to draw inspiration from reality, so he pays the court costs of Sally O'Neill, and takes her home in this Pygmalion story.

Everyone is good in their role: Miss O'Neill as the rough-and-tumble Brat, Dinehart as the snobby and increasingly unlikable author. Albert Gran is fine as the live-in bishop and J. Farrel MacDonald, a Ford regular. Joseph August's camera-work is as good as it's ever been, particularly in the opening sequence at night court. However, the show creaks as a sort of cut-rate version of George Bernard Shaw's version of the Greek myth.

The problem is that, except for MacDonald's relationship with Frank Albertson, playing Dinehart's put-upon and whiny younger brother, this movie does not play to any of Ford's strength. With the coming of sound he had to learn to direct anew, and took this as another assignment. The result is another rote production with the excellent camera-work that distinguished Fox productions in this period as its only point of interest to anyone not interested in seeing everything that John Ford directed.


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