Dimples

For this Shirley Temple feature Frank Morgan was borrowed from MGM and worked awfully hard to keep America's favorite moppet from stealing the whole film. Morgan was no mean scene stealer himself.

A lot of his Professor Marvel aka known as the Wizard over in Oz went into Morgan characterization of the Professor who is Shirley's grandfather. He's a former actor who has seen his better days and now lives hand to mouth. Shirley and her street peers and an integrated group of peers they are distract the crowd while he pilfers their pockets.

I won't say how but Shirley comes to the attention of society matron Helen Westley who offers to adopt her. At the same time she's got a nephew Robert Kent who wants to enter that most ignoble of professions, being an actor. She won't hear of it, especially his adaption of that current best seller Harriet Beecher Stowe's Uncle Tom's Cabin.

These two issues meet and are resolved in the finale. Though we're never sure whether Frank Morgan will end his thieving ways. It's practically an addiction now.

Morgan and Temple made a good team on screen. Their scenes are almost a dress rehearsal for his role in The Wizard Of Oz.

Get ready to see another Shirley Temple vehicle where she's an orphan who melts down a crotchety old man and proves she's "very self-reliant." In Dimples, she gives a pseudo-take on Oliver Twist with Frank Morgan as a pseudo-Fagin. He's called "The Professor" and he runs a gang of homeless kid street performers who sometimes pickpocket. In the middle of the Great Depression, it makes sense to see Shirley as a little Ragamuffin begging on the streets; however, it would feel a little creepy for her to live with The Professor while he leads her down a life of crime - save but one tiny detail that separates it from Charles Dickens's classic: Frank Morgan is Shirley's grandfather.

Included in the plot is Helen Westley, a staple in Shirley Temple movies. She's a wealthy patroness who helps produce a theatrical of "Uncle Tom's Cabin" starring Shirley. As this is such a large focus of the movie and it's performed in blackface, Dimples isn't often a favorite among modern audiences. It's not a favorite of mine because of Frank's character. Oftentimes in Shirley's movies, love is shown to be of greater importance than money (because they were made during the Depression), but in this case, I agreed with Helen's character. Shirley would be better off living a life of luxury than living in a filthy shack begging on the streets, even if it means being parted from her beloved grandfather. In Shirley's other movies, the lovable old man is shown to have some good influence on the little girl, but I couldn't find any from Frank Morgan.

What a charming musical! Shirley Temple is absolutely adorable. I love when she sings "Get on Board" as Eva in Uncle Tom's Cabin. Her character is dressed in white. I love plenty of song and dance. It does not make me tired at all. What it does, is make me so very happy. The title alone, Dimples, is very charming. Shirley Temple herself as a child has had what the title says. That was for quite a long time. I have been very glad of that. It is a very old movie, but then again I like old ones. Whatever age you are, it is a must that you like good movies. This especially holds true for most of Temple's films. They are absolutely irresistible. Maybe someday I'll put on a song-and-dance myself. Who knows? The number "Miss Dixie-Anna" at the end makes it a great movie. Would I dare to say anything else about the ending? I really don't know for sure. No one wants to know that in advance. They want to see for themselves, thank you. Please let everyone enjoy this really good vehicle of Little Miss Temple.

As one of several films Shirley Temple made for Fox Studios in 1936,"Dimples" is also an underrated favorite of mine and it shows why. Temple plays Dimples,a young street corner singer whose beloved grandfather (played by Frank Morgan of "Wizard Of Oz" Fame) is a pick-pocket thief a la Oliver Twist's Artful Dodger. Meanwhile a stage production of "Uncle Tom's Cabin" is being performed with Dimples in a supporting role. The film ends with an exciting and memorable musical number with Temple and Stepin Fetchit around blackfaced actors which was directed by Bill Robinson. Director William A. Seiter (Laurel & Hardy's "Sons Of The Desert") does a great job with the well-done cast and storyline which may or may not appeal to today's political incorrect audiences but it's a fun and enjoyable film to watch with memorable songs and sequences. Recommended ! James Welch Henderson Arkansas 6/4/21.

DIMPLES, a precocious little tot in the New York City of 1850, must decide between life with her penniless but charming rogue of a grandfather & a wealthy old lady who loves her.

Shirley Temple, that pint-sized package of amazing talent & energy, delights once again. Her megawatt smile & boundless vivacity are only the outward manifestations of her unique personality & status which still keeps her - after so much time - Hollywood's greatest child star.

Frank Morgan, who had honed his scene stealing techniques for decades before Shirley was born, plays her grandfather. Given good lines, he was the rare actor who could dominate the dialogue even at the mighty tyke's expense. He is constantly entertaining to watch and adds greatly to the enjoyment of the film. His classic role would come a few years later when he was to portray THE WIZARD OF OZ, over at MGM.

The supporting players all give solid performances, most notably Helen Westley & Berton Churchill. John Carradine & ubiquitous child actor Leonard Kibrick both have small roles. Movie mavens will recognize Stepin Fetchit, unbilled as Morgan's servant.

The romantic subplot, consisting of Robert Kent trying to choose between Astrid Allwyn & Delma Byron, is a dull affair - as is usual in most Shirley Temple films.

Shirley sings `What Did The Bluebird Say,' `He Was A Dandy,' and, with The Hall Johnson Choir, `Get On Board, Little Children'. Although he does not appear in the film, the legendary Bill Robinson choreographed Shirley's tap routines; his influence is readily apparent.

It has to be mentioned that there is quite a lot of racism in the film. It should also be noted that this was not an unusual situation in Hollywood films of the 1930's.