Dimples Appleby lives with the pick-pocket grandfather in 19th century New York City. She entertains the crowds while he works his racket. A rich lady makes it possible for the girl to go legit. "Uncle Tom's Cabin" is performed.
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Wealthy Edward Morgan becomes charmed with a curly-haired orphan and her pretty older sister Mary and arranges to adopt both under the alias of "Mr. Jones." As he spends more time with them, he soon finds himself falling in love with Mary.
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C. Aubrey Smith
Dimples is a busker - a street entertainer, and lives in mid-19th century New York City's Bowery with her kindhearted but pickpocketing Grandfather, Prof. Eustace Appleby. Dimples is a talented child and is hired to perform at a party in the home of Mrs. Caroline Drew, an elderly widow living in Washington Square. Dimples delights the gathering and charms not only the elderly mistress of the house but her nephew Allen as well, a theatrical producer betrothed to a lovely society belle. Allen engages Dimples to perform the role of Little Eva in his production of "Uncle Tom's Cabin" while Mrs. Drew makes it possible for Dimples to remain in her genteel home and enjoy its benefits. Various complications ensue and Dimples bravely makes the decision to sacrifice her happiness to return to her slum dwelling Grandfather. Mrs. Drew traces Dimples's whereabouts and convinces Prof. Appleby that his lovely granddaughter deserves something better than a life of poverty and crime in the Bowery. The...Written by
Herman Bing as "Proprietor" and Greta Meyer as "Proprietor's Wife" are in studio records/casting call lists as cast members, but they did not appear or were not identifiable in the movie. See more »
At the beginning of the film there is a political sign shown, vote for President Pierce, he'll get us
out of the depression by 1852. Franklin Pierce was first elected in 1852 and served one term
only. See more »
Why did you take that clock?
Prof. Eustace Appleby:
Clock? What clock? I remember no clock.
The one you put your hat over. I saw you.
Prof. Eustace Appleby:
Why, of course not. You ought to know that I wouldn't take a small clock like that. I - I mean, I wouldn't take any clock, large or small. After all, my dear child, I'm a musician, not a thief.
All right, Professor.
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People are often made uncomfortable by elements that reveal racial attitudes in old movies, but those elements can make the movie fascinating. "Dimples", which is set in the 1850s before the Civil War, often makes explicit references to slavery and also reveals 1930s stereotypes. (Also, the movie keeps referring to "the depression," drawing parallels to the '30s.)
The opening legend calls attention, with deliberate irony, to the fact that some young radicals are questioning "that respectable institution of slavery". Then we see Shirley dancing with black and white street orphans, implying that they are equal in their economic straits. Stepin Fetchit has an important but unbilled role as Frank Morgan's servant (who isn't a slave, but isn't getting paid either). Black servants are shown everywhere, especially at Mrs. Drew's house.
Two plot points are important. The central question is whether Mrs. Drew will "buy" Shirley for $5000, and the characters go back and forth on this question. On the night of the debut of the "Uncle Tom's Cabin" play, Mrs. Drew arrests Frank Morgan (in disguise as Uncle Tom). Then while watching Shirley's death scene in the play, where she begs for Uncle Tom to be free, Mrs. Drew "frees Uncle Tom" (letting Morgan go). Shirley converts Mrs. Drew's impulse to "enslave" people.
We see (with historical accuracy) that the play uses white actors in blackface--but in a curious twist, the play closes with a "new entertainment from the South," a minstrel show with the actual black performers (including Fetchit) pretending to be white actors in blackface. These elements make some viewers uncomfortable, but if you can watch critically, it reveals how the movie was attempting at some level to recognize and deal with unpleasant realities of U.S. history and address freedom, equality, and integration in disguise as entertainment. The Hall Johnson Choir appear, and Bill "Bojangles" Robinson choreographed the dances.
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