Radical Update for a Literary Favorite

Rebecca of Sunnybrook Farm (1938) Is Now a Big Broadcast

Some months back, Greenbriar looked at Little Lord Fauntleroy, beloved novel source for adaptation right to present day. Cousin to LLF was Rebecca Of Sunnybrook Farm, published in 1903 and basis for multiple films both silent and talking. Hardship of farm life was keynote, but movies never sat well with that, and besides, Rebecca was for cheering fans of whatever child idol played her. First was not unexpectedly Mary Pickford, her own good will among a public meshing nicely with the book's. A first sound treatment (1932) was by Fox and reasonably faithful, though tough to locate now. Rebecca Of Sunnybrook Farm was by then purest soap for many who were fed up with grubbier precode, as illustrated by ad below that puts blunt one showman's outreach to clean entertainment, " --- escape from ruthless rackets and sordid crooks ... tinseled women and beady-eyed gigolos ... " Promotion like this was proof that not everyone was enamored of movies that spelled out sin. Not a few parents were forbidding film altogether to offspring, so raunchy had they gotten. Rebecca Of Sunnybrook Farm was then " ... as refreshing as a mountain breeze," and a show safe for "the Whole Family."

Few saw coming a wholesale revamp 20th would do when next came Rebecca Of Sunnybrook Farm in 1938, a singing reproof to no-fun on the farm too long the bane for previous Rebecca readers, and watchers of film versions gone past. Those who wanted fidelity to the book could go fish, for here was new day and one not to be disguised by advertising, Fox up front as to streamlining and "happiness hook-up" for the "great (old) piece of entertainment property." There was, of course, pecking order for literary classics, many for which a public built walls against Hollywood philistinism, while others less revered might be cut to fit current fashion. Rebecca Of Sunnybrook Farm appears to have been, by 1938, among the latter. I wonder how many, if any, complained upon exit from theatres crowding for Shirley Temple. She was still princess of all surveyed on the 20th lot, the more so because her vehicles were made economically and so showed profits habitually a best or near so for years they came out (Rebecca Of Sunnybrook Farm was surpassed only by Alexander's Ragtime Band for 1938 gain). Zanuck policy had lately eased Temple into re-work of Mary Pickford properties, plus explore of child stories everyone knew from their own youth, thus a pre-sold label shipping out with each. Rebecca Of Sunnybrook Farm then, would serve less its source novel than a ready audience for whatever showcased Shirley Temple.

Shirley Temple was approaching slicker ice, 1938 a last banner year before a decline wiser heads would have seen coming. Irony was her performing talent at peak, that a last line of defense against encroach of adolescence. DFZ and 20th handlers would not have kidded themselves that all this could last forever, though assurance Shirley showed ("I'm very self-reliant" her signature line in Rebecca Of Sunnybrook Farm) might argue to the contrary. Hadn't Variety assured that Shirley's "theatrical genius will carry her through the transition from chubby, imitative childhood to secure station as a great entertainer and money name in the adolescent phase of her career"? That wouldn't happen, as now known, though there would be an adolescent, then ingénue, career, if one far short of "money name" status Shirley Temple knew as a child. Variety's reviewer had not reckoned with a public's determination that she not grow up, doing so an affront to legions that loved Shirley.

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Proof that she had never been better came with wow finish to Rebecca Of Sunnybrook Farm that was "Toy Trumpet," a dancing duet with Bill Robinson and chorus. Variety blew trumpets of its own for Shirley's "extraordinary precision and skill" in doing the number "for seven minutes without a cut," the boost deserved but not accurate, as her sustained tap with Robinson goes just past two minutes w/o edit, still  extraordinary trouping on both their parts. Worthy of plaudits were five other tunes composed fresh for Rebecca Of Sunnybrook Farm, most hit-bound and positioning Temple for a next, Little Miss Broadway. Already there was nostalgia for Shirley days gone by, which she acknowledged by reprise of tunes from earlier vehicles, "On The Good Ship Lollipop" and "Animal Crackers in My Soup" having become standards over short seasons since she first performed them. Musicals might have been the genre to stay with, what with Shirley's increased aptitude for them, but later move to Metro, which would have seemed ideal strategy at the time, saw her left in dust by engine that was Mickey Rooney and Judy Garland, two whose act could not be topped, or even approached, by added company. Unkindest cut was Temple told in tactless terms by MGM music and dance staff that she was nowhere near a talent standard they meant to maintain. Later pacting with Selznick would mostly exploit rather than exalt an awkward-aged Shirley (best of the bargain for DOS: her hugely publicized wedding to John Agar). Rebecca Of Sunnybrook Farm is available on quality DVD from Fox (with colorized viewing option), and Amazon streams the feature in HD.