Much of film-related debate today revolves around whether certain roles should be played by actors of specific gender, race or ethnicity. Such debates did not exist a century ago, with audiences apparently understanding that actors are supposed to act—or, in other words, pretend to be something they are not. This included Mary Pickford, one of the greatest stars of early Hollywood, who experimented with playing characters not only of different ages but of different genders. Her most successful experiment was Little Lord Fauntleroy, the 1921 silent melodrama directed by Alfred E. Green and Jack Pickford.
The film is based on the eponymous 1886 novel by Frances Hodgson Burnett, first adapted for the screen in Britain in 1914. The Hollywood version, co-produced by Mary Pickford and co-directed by her younger brother Jack, begins in 19th-century New York City, where 12-year-old Cedric Errol (played by Mary Pickford) lives with his "Dearest" mother (also played by Mary Pickford). "Dearest" had briefly been married to a young British aristocrat, heir to the wealthy, powerful and ancient Earl of Dorincourt (played by Claude Gillingwater). The old man never approved of his son marrying a commoner. But when the son dies, Cedric emerges as his only heir, so Dorincourt reluctantly agrees to summon him to England and grant him the title of "Lord Fauntleroy". Cedric arrives at his grandfather’s vast mansion but must separate from his mother, forced to live in a guest cottage. Cedric’s charm and energy, however, gradually warm the old man’s heart, though his happiness is threatened by unscrupulous characters intent on depriving him of his title. Help arrives from a group of friends young Cedric made on the streets of New York.
Burnett’s novel is often described by today’s critics as "the Harry Potter of its age", and its popularity is reflected in numerous film and television adaptations across various countries. Pickford’s version may not be the best known (the 1936 sound version starring Freddie Bartholomew and C. Aubrey Smith is often considered superior), but it nevertheless represented a notable technical achievement for its era. This was largely due to Mary Pickford’s habit of playing dual roles and her decision to appear as both the protagonist and his mother within the same shot. Cinematographer Charles Rosher developed a complicated double-exposure technique to achieve this illusion. It was used in the scene where Cedric kisses his mother—a moment lasting three seconds that actually took eighteen hours to film. Pickford, at the height of her popularity, willingly endured such sacrifices and displayed great enthusiasm for the role. Despite her short stature, she was too tall to convincingly play a boy, but the directors solved this by surrounding her with tall actors and using oversized props and studio sets to create the illusion. The result was impressive, and Little Lord Fauntleroy works very well for viewers accustomed to silent cinema. Pickford’s undeniable charm can still win over audiences a century later, and cynical viewers might easily overlook its overt sentimentality, Victorian melodrama, and running time, which may seem excessively long. Pickford’s efforts are ably matched by the supporting cast, which includes Joseph J. Dowling—one of the few US Civil War veterans among early Hollywood actors—in the role of the Earl’s solicitor, Havisham. Though hardly an undisputed classic, Little Lord Fauntleroy could provide a satisfying experience even for viewers seeking more than mere insight into 1920s cinema.
RATING: 6/10 (++)
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