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There is a benign aura about the photoplay, a mellow haze of things long past which should lull even the most adamant anti-Fauntlerite into a state of restful receptivity. This may be due to the period settings which have been contrived so handsomely, or to the performance of a perfectly attuned cast, or to Hugh Walpole's adaptation, or to John Cromwell's sentient direction. Whatever the cause, and it probably was the combination of all four, the picture has a way with it and, unless we are very much in error, you will be pleased.

David O. Selznick's first independent production upheld the producer's tradition, established at Paramount, RKO and... MGM, of bringing the "classics" to the screen. Adapted by Hugh Walpole from the novel by Frances Hodgson Burnett, Little Lord Fauntleroy is set in the late 19th century. After establishing Freddie Bartholomew as a likeable Brooklyn boy who can handle himself in a scrap--with the assistance of his roughneck pal Mickey Rooney, of course--the film introduces us to Bartholomew's mother, played by Dolores Costello-Barrymore (though divorced from John Barrymore, Mrs. Costello-Barrymore was still billng herself by her married name). Costello-Barrymore is the widow of a titled Englishman, whose father, the aristocratic Sir C. Aubrey Smith, detests all Americans with equal fervor. Upon discovering that Bartholomew is the rightful heir to his fortune, Smith demands that Costello-Barrymore deliver the boy to his sprawling English country estate. Now addressed by one and all as Lord Fauntleroy, Bartholomew chafes at the restrictions imposed upon him by his station in life. The boy's good nature and forthrightedness wins his grandfather's respect-and, eventually, the old man's love.

Gary Tooze

June 13th, 2012

also available in The Selznick Collection [Blu-ray] (Nothing Sacred, A Farewell To Arms, A Star is Born, Bird of Paradise, Little Lord Fauntleroy) BELOW: