At one point in "Daddy-Long-Legs", Judy Abbott writes the story of her life at the orphanage, which we had previously seen. Mary Pickford's increased control over her vehicles in return increased the power of screenwriters. Frances Marion had helped launch Pickford to stardom by adapting "The Poor Little Rich Girl" and other works--establishing Pickford's typical role as a child--but Marion is absent on this one. Yet, although "Daddy-Long-Legs" is authored by others, it doesn't stray from Marion's formula during the first part: a sympathetic predicament for the child, offset by comedic set pieces. It entertains while holding the audience's emotions. This film is full of intertitles, as well. Ferdinand Earle's "art titles" occur more often during the introductory scenes than do moving pictures (it seems fades do, too). The entire story is largely told this way, and it indicates the important role of the screenwriter.
There's no surprise here. If you're familiar with Pickford's films, you know what you're going to get, and "Daddy-Long-Legs" gives you just that. There is the college years afterward, but that's in the same spirit. The transformation from adolescent to college student is convincing enough. The entire movie is episodic. The pacing is appropriately brisk. And, the girl with the golden curls does her usual thing.
Hollywood movies were looking great by this time, and "Daddy-Long-Legs" reflects that. There are plenty of iris shots, including a masking wipe that acts as a curtain after a performance of "Romeo and Juliet". The film is amply lit and tinted. There are silhouettes and dark photography aided by blue tinting--so we may still see Mary. And, the camera gets close. The film shows the common look and technique of 1919 Hollywood pictures. On the other hand, not much has changed since Maurice Tourneur directed Pickford in "The Poor Little Rich Girl" two years afore. They still use large sets to make her appear even shorter while portraying an adolescent. There was much gloss to it, as well. Most of all, it's still passable, light entertainment.
(Edit Note: There's a joke in the film that alludes to the Influenza pandemic of the day where Pickford sneezes to disperse a crowd--some of whom are wearing masks.)
There's no surprise here. If you're familiar with Pickford's films, you know what you're going to get, and "Daddy-Long-Legs" gives you just that. There is the college years afterward, but that's in the same spirit. The transformation from adolescent to college student is convincing enough. The entire movie is episodic. The pacing is appropriately brisk. And, the girl with the golden curls does her usual thing.
Hollywood movies were looking great by this time, and "Daddy-Long-Legs" reflects that. There are plenty of iris shots, including a masking wipe that acts as a curtain after a performance of "Romeo and Juliet". The film is amply lit and tinted. There are silhouettes and dark photography aided by blue tinting--so we may still see Mary. And, the camera gets close. The film shows the common look and technique of 1919 Hollywood pictures. On the other hand, not much has changed since Maurice Tourneur directed Pickford in "The Poor Little Rich Girl" two years afore. They still use large sets to make her appear even shorter while portraying an adolescent. There was much gloss to it, as well. Most of all, it's still passable, light entertainment.
(Edit Note: There's a joke in the film that alludes to the Influenza pandemic of the day where Pickford sneezes to disperse a crowd--some of whom are wearing masks.)