Heidi (1937)
Director: Allan Dwan
20th Century-Fox’s little, darling child star had been
Hollywood’s leading box office draw for the previous years of 1935-36, and with
her production based on the adaptation of the famous children’s book Heidi she was well on her way to being
crowned princess of the silver screen once again. In this Temple picture the
little starlet takes on the role of the popular orphan from a Swiss literary
classic, a tale right up the Shirley Temple line of stories, once again
changing the lives of the stonehearted and weaker willed adults that surround
her.
Heidi is a Shirley Temple
drama of a Swiss orphan taken away from her grandfather and made the companion
to a spoiled, crippled girl. The film opens with the orphan, Heidi (Temple),
being abandoned into the care of her callous, hermit-like grandfather (Jean
Hersholt), transforming his heart into a kind, old man before being ripped away
from him by a greedy aunt and sold to be a companion to a girl of a rich
family. Heidi longs to be reunited with her grandfather, but makes the best out
of being play friend of Klara (Maria Mae Jones), who is kept in a wheelchair by
her caretaker/teacher Fräulein Rottenmeier (Mary Nash) in fear that if Klara
becomes well she will not be needed any longer. With Heidi’s care Klara regains
her ability to walk, sparking the mean spirited Rottenmeier to sell Heidi to
gypsies before being rescued by her grandfather.
The picture is an adaptation, but one right up the ally for a Shirley
Temple film. Though only nine years old, it is clear little Temple is aging,
becoming more able to handle a more dramatic role while seeming to understand
even better where her cuteness is needed in her performance, rather than
playing out her part as if coached, which she heavily was by her mother. Apart
from the “Shirley Temple” aspects of the picture, the film does seem to have a
larger amount of production quality and a more cinematic style to the feature
when compared to the films before her works previous to that of Wee Willie Winkie, seen earlier in the
year. It is clear 20th Century-Fox is trying to put more into her
productions before she gets older and loses her childish cuteness, which is rapidly
coming.
More than ever Temple would be focus of the film, and that is not meant
in a story means of saying so, because it was clear in nearly everyone one of
her films she was the center of attention. No, in this case Temple was a pretty
heavy influence behind the camera it seems. It is not that she directed the
feature, which was manned by Hollywood pioneer Allan Dwan, a founder of one of
the first movie studios in California and director of such classic films as Robin Hood, starring Douglas Fairbanks.
However, Temple would be a driving force in choosing a musical segment in the
feature while giving out many orders to her similar aged dancers, humorously
becoming somewhat of a tiny diva on set, only in fun. She also influences the
hiring of fellow child actor Delmar Watson in a minor role. Most of all Temple
was the major studio asset, enlisted with numerous bodyguards, being kept away
from the location sets until the last minute for her safety, a stunt double for
when Heidi is kicked by a goat, and even costing the crew two days of shooting
around her when she accidentally inhaled fake snow which temporarily damaged
her throat. It was clear Temple was everything to the movie and to Fox.
On set there were the usual issues with any Temple set. Her mother was
worried that Marcia Mae Jones play the sympathetic crippled child would
overshadow Temple. Jones does carry with her a stirring role in the movie,
especially as she walks for the first time for her father since the “accident.”
The much older Jones would receive many fan letters from disabled children all
over for her performance, but Temple’s mother made sure Shirley was on screen
enough and with inspiring words and actions to not have her overshadowed. It is
a small note, but one that seems to come up throughout film history with major
child actors.
Allan Dwan might be directing what could be simply called a children’s
movie, but it is easy to see Dwan was not new to making quality pictures. His
best work was in the days of silent films, directing the likes of Mary Pickford
and Douglas Fairbanks in more classic films of the time, with is more recent
work being in lesser known features. Dwan does however move the camera well,
frames shots, and edits with a seamless manner that makes his work in Heidi
rather invisible, and any filmmaker knows that if your work is done right it
just seems natural and almost goes unnoticed. Such was the case with Dwan in
this picture.
In watching the picture the story is rather flat. There is the drama of
Heidi and how she will get away from her forced life as a child companion
hoping to reunite with her grandfather, but nearly all the characters are all
two dimensional, not developing or arching with the story. That is what makes
Jean Hersholt’s performance all so important. The Danish-born actor with a
history of supporting roles here plays the one character who is most changed in
the entire picture. Introduced as a stubbornly, old, hermit on a mountain given
the burden of Heidi, Hersholt and his role as the grandfather seems to be yet
another flat story of the cute girl changing the grumpy, old man into a
kindhearted human being. This is very true, but it is only the first third of
the picture, supplying the audience the perfect introduction and connection to
Heidi before the plot of her being sold begins. Though Hersholt’s role does
diminish to only a few seconds here and there for the remainder of the picture,
our hearts are in fact with him as a loving guardian desperately looking for
his little girl. Only a month after the film was released Hersholt would begin
a radio show inspired by his performance in the The Country Doctor a year earlier. This radio show, “Dr. Christian,”
would become a major broadcast success making him money in several mediums for
many years.
Heidi would be yet another
major financial success and marked the third consecutive year in a row with
Shirley Temple as the largest box office drawer in Hollywood, an unprecedented
mark for any time in cinema history. A child led the way for studio and Fox was
reaping as much as they could out of her. Meanwhile Shirley was clearly
becoming more mature as she was only reaching double digits in age. Sure her
cuteness would begin washing away soon as she aged into her pre-teen years, but
she was the technically the biggest star in Hollywood, even being a proud owner
of an honorary Academy Award by this time. She may not be taken seriously as an
artist, but she was serious business for 20th Century-Fox, and the numbers
do not lie.
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