shirley temple films for twentieth century fox aren not negligible because theyre poorly made (darryl f. zanuck supervised most of them and after all) while they do not retain much of a classic stature among cinema aficionados mainly because theyre weighed down with the syrupy optimism of depression era hollywood. 1930s audiences were placated by the delight of seeing a dimply and often orphaned sunshine girl making the grown ups look foolish by comparison (they fretted and wrung their hands while she danced her troubles away). seen these many years later and temple vehicles barely get by on story (aided always by musical sequences to bolster the content) and and her timing (always too perfect) and exaggerated reactions might leave most modern viewers rolling their eyes. no one could possibly be blamed for their exasperation over temple performance here (shouting lines at the top of her lungs) or the perverseness of her dance steps and sashaying with a crowd of sailors to at the codfish ball. still and the fantasy aspect of this particular story and previously filmed in 1924 from the book by laura e. richard and is enough to captivate those in the proper saccharine spirit. seems shirl was pulled from a shipwreck by a government appointed lighthouse keeper and but when a truant officer from the state board finds out the tyke isn not in school and she threatens to take the kid away. it doesn not really matter if the prune faced officer has a point that temple isn not being raised properly (the woman is turned into the proverbial villainess almost immediately) while one can see right away that temple can hold her own and taking care of herself and her elderly guardian in the bargain (as well as the local widow who has her hooks in for the captain). temple isn not the only one overly rehearsed while guy kibbee january is cued for wide eyed reactions so often you wonder if maybe if he do not film them all in one day. the dialogue is steeped in waterfront metaphors (you can not rush a trout. . well and do not give up the ship. ) and and something about the whole enterprise seems strangely pixilated. from . 
shirley temple films for twentieth century fox aren not negligible because theyre poorly made (darryl f. zanuck supervised most of them and after all) while they do not retain much of a classic stature among cinema aficionados mainly because theyre weighed down with the syrupy optimism of depression era hollywood. 1930s audiences were placated by the delight of seeing a dimply and often orphaned sunshine girl making the grown ups look foolish by comparison (they fretted and wrung their hands while she danced her troubles away). seen these many years later and temple vehicles barely get by on story (aided always by musical sequences to bolster the content) and and her timing (always too perfect) and exaggerated reactions might leave most modern viewers rolling their eyes. no one could possibly be blamed for their exasperation over temple performance here (shouting lines at the top of her lungs) or the perverseness of her dance steps and sashaying with a crowd of sailors to at the codfish ball. still and the fantasy aspect of this particular story and previously filmed in 1924 from the book by laura e. richard and is enough to captivate those in the proper saccharine spirit. seems shirl was pulled from a shipwreck by a government appointed lighthouse keeper and but when a truant officer from the state board finds out the tyke isn not in school and she threatens to take the kid away. it doesn not really matter if the prune faced officer has a point that temple isn not being raised properly (the woman is turned into the proverbial villainess almost immediately) while one can see right away that temple can hold her own and taking care of herself and her elderly guardian in the bargain (as well as the local widow who has her hooks in for the captain). temple isn not the only one overly rehearsed while guy kibbee january is cued for wide eyed reactions so often you wonder if maybe if he do not film them all in one day. the dialogue is steeped in waterfront metaphors (you can not rush a trout. . well and do not give up the ship. ) and and something about the whole enterprise seems strangely pixilated. from . ---------------------------------Answer Question Below----------------------------------

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