For some, it was the game of "Cowboys and Indians"; others chose "Cops and Robbers'. Some look up to firemen; others liked matchbox cars. For me, it was trains. For Tom Sawyer, it's right in his own back yard: the mighty Mississippi River. Makes me wish it had been in my own backyard!
There are at least two older film versions of Mark Twain's great American novel, written with pre-teen boys in mind. Both are excellent. A 35 year difference between the 1938 Selznick version (an absolute brilliant adaption) saw a need for a new version, and thanks to Robert and Richard Sherman, songs were added. TV favorite Johnny Whitaker is a perfect choice to play the misunderstood Tom, the bane of his Aunt Polly's (Celeste Holm) existence, yet somehow her little love, tall tales and all. While the songs aren't really all that memorable outside the constraints of the plot, they perfectly fit the mood and setting of this version. However, some of the songs don't necessarily fit the characters who sing them, particularly a song about the fence white washing.
Jodie Foster has to be the most tomboyish Becky Thatcher that I've ever seen on stage or screen, closer to Laura Ingalls' country girl than Twain's fragile judges daughter. Holm is both stern and loving as Aunt Polly, a nice followup to Clara Blandick's and May Robson's interpretations. It takes a bit for her warmth to pop out, but when it does (heard singing after Tom's supposed drowning while turning out the house lights), prepare to shed a tear or two. Screen time is increased for Warren Oates' Muff Potter, with Jeff East a cleaned- up Huck Finn. The lovable Lucile Benson is a hoot as the gregarious Widow Douglas. Kunu Hunk makes a scary Injun Joe, one of the most frightening villains in children's literature. Veteran character actor Henry Jones adds to the atmosphere as the no-nonsense schoolmaster who whips Tom mercilessly for Becky Thatcher's slate drawing.
Taking away from some quickly written songs, this is really good technically for the perfect period feeling, beautiful country settings and a feeling of old fashioned Americana that seldom strikes a nerve in modern cinema. Of course, the story has been told several times afterwards, so there's no real surprises. Thanks to Whitaker's exuberance, it never gets to the point of over exposure. From my adolescence, this was the perfect film to watch on a late Saturday morning while my parents were shopping. Not quite a classic but far from a fiasco.
There are at least two older film versions of Mark Twain's great American novel, written with pre-teen boys in mind. Both are excellent. A 35 year difference between the 1938 Selznick version (an absolute brilliant adaption) saw a need for a new version, and thanks to Robert and Richard Sherman, songs were added. TV favorite Johnny Whitaker is a perfect choice to play the misunderstood Tom, the bane of his Aunt Polly's (Celeste Holm) existence, yet somehow her little love, tall tales and all. While the songs aren't really all that memorable outside the constraints of the plot, they perfectly fit the mood and setting of this version. However, some of the songs don't necessarily fit the characters who sing them, particularly a song about the fence white washing.
Jodie Foster has to be the most tomboyish Becky Thatcher that I've ever seen on stage or screen, closer to Laura Ingalls' country girl than Twain's fragile judges daughter. Holm is both stern and loving as Aunt Polly, a nice followup to Clara Blandick's and May Robson's interpretations. It takes a bit for her warmth to pop out, but when it does (heard singing after Tom's supposed drowning while turning out the house lights), prepare to shed a tear or two. Screen time is increased for Warren Oates' Muff Potter, with Jeff East a cleaned- up Huck Finn. The lovable Lucile Benson is a hoot as the gregarious Widow Douglas. Kunu Hunk makes a scary Injun Joe, one of the most frightening villains in children's literature. Veteran character actor Henry Jones adds to the atmosphere as the no-nonsense schoolmaster who whips Tom mercilessly for Becky Thatcher's slate drawing.
Taking away from some quickly written songs, this is really good technically for the perfect period feeling, beautiful country settings and a feeling of old fashioned Americana that seldom strikes a nerve in modern cinema. Of course, the story has been told several times afterwards, so there's no real surprises. Thanks to Whitaker's exuberance, it never gets to the point of over exposure. From my adolescence, this was the perfect film to watch on a late Saturday morning while my parents were shopping. Not quite a classic but far from a fiasco.