I watched this in preparation for Herzog's dwarf film. He requires some time in the wilderness.
In the early 30's there were some precode films that copied already established genres but with toddlers playing the roles. I commented on two: "War Babies" and "Runt Pages." Recently, I saw "Baby Geniuses," which borrowed heavily in spirit — but without the sex jokes.
This is also modeled in a way on those, but is schizophrenic.
It was the same year that "Wizard of Oz," used little people in a serious way to introduce the distorted magic of Oz. (This was before we could rely on Dr Suess.) Nearly all of these actors were in that scene, with its grueling shoot. The actual story is played almost perfectly straight. A standard script is used: cowboy romance, "Romeo and Juliette" family feud and romance, cattle rustling, corrupt sheriff, barroom moll... the whole works. These actors and the director take the movie seriously.
On the other hand, a different director managed the musical numbers. There are a half dozen, and the novelty of little people is played to the hilt, using some actual children I think where cuteness is required. The shift in stance is radical. You can see that distributor realized that they had a problem, so here is what they did:
At the beginning, an announcer comes on "stage" to announce that we would see a "novelty picture" with "midgets." A one of a kind, first ever, he effuses. But he is interrupted by the actor playing the hero, who assures him that the movie is not a novelty but a real film. Then he and the film's villain engage in a bit of scripted verbal slapping that someone thought was a successful synthesis of worlds.
Here's what interests me: mainstream movies have only a few seconds to work with the viewer to establish where what the world is they are entering and where they stand in it. It is critical to the success of a film that this is right. It is why genres are so strong film; there is no relief from the moving forward of the narrative. Big films today can do that by showing a synopsis of the whole movie in the long trailers we have. And title sequences have become extremely effective: an art in itself.
By here in 1938, they took those few precious minutes for this strange dialog.
Ted's Evaluation -- 2 of 3: Has some interesting elements.
