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THE LITTLE COLONEL (Fox, 1935), directed by David Butler, stars Shirley Temple in one of her more famous movie roles during her early years as a young performer. Aside from her initial teaming with legendary dancer Bill "Bojangles" Robinson (4th billed during opening credits, bottom billed in the closing), with whom she does a memorable "stair" dance, it places her against odds with the crusty Lionel Barrymore, on loan out assignment from MGM, sporting white hair, bushy eyebrows and droopy mustache in the old Southerner/ or Claude Gillingwater Sr. tradition, and what a pair they make.

Based on a story by Annie Fellows Johnston, the plot opens with a prologue set in 1870s Kentucky on a Southern plantation where Colonel Lloyd (Lionel Barrymore) disowns his beloved daughter, Elizabeth (Evelyn Venable) for eloping with a "Yankee", Jack Sherman (John Lodge). During their six years in Philadelphia, Jack and Elizabeth have been blessed with a child, Lloyd (Shirley Temple), whom they witness being commissioned as a "little colonel" by soldiers on a western outpost. With John remaining at the post, Elizabeth returns to Kentucky where she and Lloyd settle in an old cottage left to her by her late mother that happens to be next door to her father. After meeting his granddaughter with an introduction of getting mud thrown on him, he finds her to be just as stubborn and quick tempered as he. In spite of their rugged start and similar personality traits, Grandpa eventually warms up to Lloyd, though his stubbornness keeps him from having anything to do with his daughter, even when learning of swindlers Swazey (Sidney Blackmer) and Hull (Aden Chase) in their home threatening the ailing Jack and Elizabeth to turn over the deed to worthless property they sold him that has been proved valuable.

THE LITTLE COLONEL, a leisurely paced story with familiar theme, relies mostly on the strength of its leading players, Temple and Barrymore. It's also one of the better films in which Temple does not typically play an orphan. Evelyn Venable, whose career failed to take off after a promising start opposite Fredric March in DEATH TAKES A HOLIDAY (Paramount, 1934), provides the opening playing the harp and singing "Love's Young Dream" to her guests. The song is later reprized by Temple serenading to her grandfather as he envisions his daughter at the harp. John Lodge, virtually forgotten but better known for his performance as Count Alexi in THE SCARLET EMPRESS (Paramount, 1934) starring Marlene Dietrich, has little to do until the final half of the story. Hattie McDaniel, four years away her Academy Award winning performance in GONE WITH THE WIND (1939), supports as the Sherman maid, Mom Beck. Dressed in "Aunt Jemima" attire, she shares amusing moments with Colonel Lloyd's butler (Robinson), sharing time together with the "little colonel" at a spiritual gathering witnessing a woman getting dunked in the river where she's having her sins washed away as Negroes sing "The Sun Shines Brighter." Aside from the aforementioned "stair dance," Temple and Robinson do an encore tap dancing to Stephen Foster's "Oh, Susannah" in the stable to harmonica playing by May Lily (Avonne Johnson). Johnson, along with Nyamza Potts as her little brother, Henry Clay, support as Temple's playmates. As in many Temple films, there's a pet dog, this time a pooch named Fritzi. Others in the cast include William Burress (Doctor Scott); Geneva Williams (Maria); and Robert Warwick (Colonel Gray).

Priot to 1985, THE LITTLE COLONEL played frequently on commercial television with the closing segment, filmed in Technicolor, usually absent, with story coming to an abrupt conclusion either after Barrymore's closing line or next scene of McDaniel successfully breaking down the door after being locked in by one of Sherman's "guests." When distributed on video in 1988, the closing Technicolor segment was restored, and shown intact at 82 minutes on cable TV broadcasts on the Disney Channel (early 1990s), American Movie Classics (1996-2001) and finally the Fox Movie Channel. THE LITTLE COLONEL is currently available on DVD in black and white or colorized versions.

The success of THE LITTLE COLONEL brought forth a similar theme and title of THE LITTLEST REBEL (1935), reuniting Temple with Bill Robinson once again, with plot set during the Civll War instead of after-wards. Both classic films with Temple (and Robinson) at the peak of their careers. (***1/2)

It's odd that Shirley Temple made two similar movies in the same year, both involving Civil War-type story lines and her character being very similar. "The Littlest Rebel" took place during the Civil War and "The Little Colonel" took place right after the war.

For some reason, I get an extra feeling being choked up seeing Shirley melting a crabby old man's heart as she did in some of her films, this being one of them. Here, it's Lionel Barrymore who was fun to watch in any film.

The lead female role was played by Evelyn Venable and she really wasn't up to the standards, beauty-wise, set by previous Temple adult feminine leads such s Gloria Stuart, Karen Moreley, Rochelle Hudson, etc. But, that's not important.

The story was more important and in case - surprise - I found this to run a distant second to the aforementioned "The Littlest Rebel." This movie was, frankly, boring in comparison.

I am not one of the crying Liberals who boycott Temple''s films because blacks in these movies were denigrated. Unfortunately, that's what you saw in 1930s films....and what's done is done. However, the black characters in here are just plain treated embarrassingly bad. Everyone's Mr. Nice Guy (mine, too) Bill Robinson, didn't come on the scene and dance with Shirley until later in the film when I had lost interest.

Temple, meanwhile, is so cute that she's even likable when she's a brat, as she acts several times with the old man (but apologizes later for her behavior).

It's still a good film but I prefer the "Rebel" over the "Colonel" in the battle of these 1935 Civil War-themed stories.

I grew up with Shirley Temple. In 1932 she made 12 movies as an adorable baby doll of four years old. In 1933 she made four films; in 1934 eleven films the best was "Stand Up & Cheer" and "Baby, Take A Bow". In 1935 four films; in 1936 Captain January", in 1937 "Heidi"; in 1938 "Rebecca of Sunnybrook Farm" and "The Little Princess". In 1940 two movies, and in 1941 her first flop. 1944 she made a comeback in "Since You Went Away" and "I'll Be Seeing You". 1947 she made three films including "Bachelor & the Bobby Soxer". 1948 "Fort Apache" when she met her first husband John Agar. In 1949 she made four good films the best of which was "A Kiss for Corliss". Nobody wanted little Shirley to grow up, so I must say my favorite film of hers was "The Little Colonel" in which she sang and danced so well with the famed Bill Robinson. In that film she played against the great Lionel Barrymore.

There will never be a child star to match Shirley Temple. A born actress, dancer, and entertainer. In this movie she has an amazing support cast of Lionel Barrymore who plays the part of a crusty grandfather but Shirley with her cute and charming ways soon melts the heart of the old grandfather.

Hattie Mac Daniel plays the faithful servant and once again it made you realize just how much these beloved negroes sometimes knew more than " The white folks". The dancing down the steps with "Bojangles Bill Robinson" is something that can make you appreciate the talent of a young and not so young. The story line can be weak in places and the acting might be a bit corny to todays standards but if you need a feel good movie then drag out a Shirley Temple movie . You won't be disappointed.

A little girl tries to mend the relationship between her mother and grandfather.

The Little Colonel is Shirley Temple at her best. She does a wonderful tap routine with Bill Robinson. Lionel Barrymore is good as the curmudgeonly grandfather, and Hattie McDaniel gives a wonderful supporting performance.

Recmomended. First time viewing. 3.5/5

America's favorite moppet Shirley Temple may have met her match in scene stealing with Lionel Barrymore playing her grandfather. Just watching Barrymore taking back his scenes from Temple makes The Little Colonel an enjoyable film to watch.

Barrymore complete with white suit, Panatella, and goatee with long white hair looks like the spitting image of Colonel Sanders. He's one reconstructed old rebel and what Lee and Grant signed at Appomattox has no bearing on him. All he has to hear is that his daughter Evelyn Venable has taken unto herself a Yankee for a husband and he disowns her. So she and John Davis Lodge go first north and west and have themselves a daughter.

When Lodge goes into the west with a couple of shifty partners in a prospecting deal, he sends Venable and the little girl they have now back south to live with grandfather. Well kind of, as they take a gate cottage to live in.

But as these Shirley Temple movies go, you know it's Shirley who brings all the warring parties together. Who could resist.

The Little Colonel is known for that famous dance that Bill Robinson does with Shirley Temple on the staircase. It's still as entertaining as it ever was. The last couple of minutes are in color in which all the principal players appeared in that for the first time.

The scenes with Barrymore and Temple are absolutely precious. Just who was the best capturer of the audience's attention. Judge for yourself.

Crusty old Colonel Lloyd (Lionel Barrymore) is used to having his ornery way so when he finds out his daughter Elizabeth (Evelyn Venable) is determined to run off with Yankee Jack Shermon (John Lodge) to be married, he confronts her in a heated exchange and vows never to see her again if she does, and then she leaves.

Several years later Elizabeth, with her husband and their young daughter Miss Lloyd (Shirley Temple), decides to return to a small house that belonged to her mother and which happens to be next door to her stubborn father's home. Obviously there are soon accidental meetings between all concerned, and a few clashes of granddaughter and the elderly Colonel just to see who is the most stubborn!

Troubles descend on the Sherman family through some persuasive dishonest men who are out to rob them of their legal rights, and things start to get serious but grandpa comes to the rescue.

Becky (Hattie McDaniel) and Walker (Bill Robinson) certainly add some amusing dialog during their stroll, as in spelling out "pohos"; and Robinson's tap dancing is superb. Not surprisingly, little Shirley is right in there keeping pace with him as they both tap dance up the stairs. A great moment in film.

Nice family entertainment.

It's Kentucky in the 70's. Southern belle Elizabeth Lloyd runs off to marry Yankee Jack Sherman. Her father (Lionel Barrymore) is a former Confederate colonel during the Civil War. He is still proud of the past and vows never to speak to his own daughter again. Six years later, the couple is out on the western frontier and their daughter Lloyd Sherman (Shirley Temple) is the soldier's beloved honorary colonel. While Jack heads further west, Elizabeth returns home to live in a ramshackle family cottage with her daughter. Walker (Bill Robinson) is the old Colonel's faithful servant.

A modern audience may have an issue with the portrayal of the black characters but it's a 1935 movie about the post civil war era. On top of that, all the black characters are on the side of good and it's most notable for mixed-race dance sequences. In the film advancement category, there is also the color footage to close out the movie. In the end, it's all about the adorable Shirley Temple with Bill "Bojangles" Robinson. Their dances are cute but I wouldn't call them epic. Barrymore is perfectly cranky. I think it would be easier to kill off the father. That would be a better reason for Elizabeth to return home. I also don't like the railroad story and killing off the father would eliminate that. Overall, Shirley Temple is doing all of her cutesy stuff and that's more than enough.

Having earned her nickname due to her stubborn temper, THE LITTLE COLONEL courageously tries to reunite her splintered family.

Shirley Temple smiles, pouts, tosses her curly locks and completely runs away with the movie. One of her early family classics, this is an excellent showcase for her tremendous charm & abundant talents. As box-office queen, the mighty moppet would dominate Hollywood during the second half of the 1930's. Never was a despot so welcomed or a tyrant so loved.

As one of the industry's finest character actors, crusty Lionel Barrymore gives the little lady a run for her money. Always entertaining, he knows when to purr or when to roar to maximum effect, even if he doesn't quite eclipse Little Miss Personality.

Hattie McDaniel adds her own unique gifts to the role of Shirley's faithful servant, never allowing her dignity to be demeaned. As always, she is a joy. The legendary Bill Robinson is also on hand, mostly, one suspects, so as to partner Shirley in a couple of dances and they are wonderful, especially in Robinson's signature Staircase Dance. They are perfectly matched - one ramrod straight & ebony, the other tiny & blonde - and their minutes together on the screen is the stuff of which movie magic is made.

Evelyn Venable & John Lodge, as Shirley's parents (it's rare for her to have both all the way through a film) do nicely with the romantic angle, but it's kept to a minimum, as is usual in a Temple film, where the spotlight is kept firmly focused on her. Sidney Blackmer appears as a smooth swindler who makes the serious mistake of angering THE LITTLE COLONEL.

Although the film is given good production values by 20th Century Fox, it is the interaction between little Shirley and the other performers which far and away is the most important aspect of the picture.

It should be noted that there are elements of racism in the story line, a not uncommon occurrence in Hollywood films of the 1930's.

The final scene segues into early Technicolor - a pleasant way to end the story.

Crusty former Army colonel Lionel Barrymore is encouraged to patch things up with his estranged daughter after her marriage to a Yankee produces an adorably outspoken child who emulates her bossy grandfather. It's Shirley Temple in the Old South after the Civil War, scuttled after by housekeeper Hattie McDaniel and dancing up the staircase with butler Bill Robinson, and some will surely quibble with this Hollywood-ized version of time and place. Even though there's bad blood between relatives, everyone sparkles with sass and sentiment! The main joy here is in watching little Shirley outwit her elders, although the baptismal sequence at the river (complete with spiritual "wailing") provides an eerie shimmer that nearly seems to belong to a different film altogether. **1/2 from ****

The opening scene of "The Little Colonel" is set somewhere in the Deep South in the 1870s. The Civil War had been over for years, but plantation owner, Colonel Lloyd, still carried a hatred for the Yankees. When his daughter, Elizabeth, plans to marry a man from the North, Jack Sherman, Lloyd disowns her. Segue to six years later, at an Army cavalry post somewhere in the Northwest, and a special formation has been called by Colonel Gray for the commissioning of a new officer. Six-year-old Lloyd Sherman is commissioned a colonel in the U. S. Army. She is the daughter of Jack and Elizabeth Sherman, and has endeared herself to the whole post.

So sets the stage for this movie that stars six-year-old Shirley Temple as Lloyd Sherman - that is, Colonel Lloyd Sherman. Lionel Barrymore plays her grandfather, Col. Lloyd, Evelyn Venable plays Elizabeth and John Lodge plays Jack Sherman. But the best of the supporting cast in this film - after Barrymore, are the black servants who have stayed on the Lloyd's plantation after the Civil War abolished slavery. Bill Robinson plays the colonel's butler, Walker, and Hattie McDaniel plays the cook, Mom Beck. They share of the singing and dancing with young Shirley that add the musical aspects to the comedy drama and family film.

Robinson's staircase dance routine is memorable, and one has to note that he was "no spring chicken" when this movie was made. Robinson was the same age as Barrymore, 57, with both actors having been borne in 1878. Barrymore had to don the white hair and beard to look older, and Robinson may have had some sprinkling of powder for the light touch of white in his hair. Robinson went by the nickname, Bojangles, and was one of the best tap dancers in the world. He started young and performed in vaudeville, on stage and in the movies. And, Hattie McDaniel would become the first African-American to win an Academy Award, in 1940. She won the best supporting actress for her role as Mammy, in the great 1939 production of "Gone With the Wind."

The plot for this film is a good story in which the young Colonel Lloyd Sherman resolves all the problems and disagreements and it ends happily for everyone - well, except for a couple of bad guys who, we assume get what's coming to 'em.

I enjoyed watching this film again - these many, many years after seeing it on late night TV in the 1950s-60s. And, this time in color. Here are a couple of favorite lines from the film.

Dr. Scott, "Marriage is a wonderful institution." Colonel Lloyd, "Yes, us, no family should be without it."

May Lily, "You can't be no colonel." Lloyd Sherman, "Why not?" May Lily, "Because you ain't got no whiskers." Lloyd Sherman, "I don't need to have whiskers. I've got a temper. That's all you need to be a colonel."

1st watched 12/17/2004 - 4 out of 10(Dir-David Butler): Cute but minimalistic fare from the Olsen Twins of her generation, Shirley Temple. The best parts of this movie are the dance routines with the black slave butler-like character and Miss future Temple-Black. We really don't get enough of these and the story itself, set in post-Civil war times in the south is pretty flimsy and setup just so "the cute one" can save the day with her charm. She is definitely charming, but it doesn't carry this particular movie unless maybe for the younger girls of this generation who also like the similar plot-less "Olsen twin" type movies.

The film begins just after the US Civil War. The Colonel (Lionel Barrymore) hates Yankees and is shocked when his daughter announces she's marrying one. In fact, he disowns her and she leaves. Time passes and now after several years, the daughter returns to her hometown with her adorable child, Lloyd (Temple). As for the husband, he's a businessman and is expected to soon join them.

For some time, the daughter and father ignore each other--both too proud to bend. However, Lloyd isn't afraid to talk to her grandpa when she sees him. In fact, she's VERY spunky and a bit bratty. So, when he talks down to her, she gives him what for and throws mud on him! Later, she returns and apologizes...and the pair begins a friendship. Over time, Lloyd's sweetness is able to mend fences and create a happy ending. But before this, she has to help her family, as some evil swindlers have taken her father captive! Oh my!

The interplay between Temple and Barrymore is great. Partly this is due to their both begin fantastic actors. Partly it helps because in this film, Shirley does not play all sweetness but is also delightfully bratty and strong-willed. She also is MAGNIFICENT in the scenes where she dances with Bill 'Bojangles' Robinson--the best of their several movies together. All in all, a completely delightful film--one of Shirley's very best. And, at the end there is a VERY garishly colored segment--very vivid--actually TOO vivid!

By the way, although you don't hear her sing much in films, Hattie McDaniel was also a professional singer and you get to hear a bit of her lovely voice as she BRIEFLY sings a song. Also, although black characters fare much better in this film than in other Shirley Temple films of the era, some might blanch at the fact that all the black people are VERY happy living in the segregated post Civil War South.

Wow, I have not visited this film in ages. To see it again in the autumn of my days was a real eye opener. Ok, the story line is thin, yet the engagement of the actors WITH one another in the screen is palatable to this day. Hey, it may be cringeworthy by our standards in the context of race. Yet if one views this piece in its historical context, everyone had a job to do and was re-enacting a rosey vision of a Harmonious lifestyle post Civil War. If you get past that you can see a period of life re-enacted on the screen for what it was. The ACTING...is tremendous on such a thin story line. NO CHILD actor to this day comes CLOSE to holding her own with the likes of Lionel Barrymore, or Bill Robinson. This little Ball of talent allows you to sit back and WISH your child was as kind an reasonable as this little gal acts. All top shelf actors with this little gem...Evelyn Venable and the Lovely Hattie McDaniel help us to see that on good days in the South, most everythin' was fine. The story was taken from a novel that was based on REAL PEOPLE of that period in a REAL location called Peewee Valley, Kentucky. Ok so it's schmultzy. Yet... could a movie which encapsulates a time period so distinctly as this be made today? No way! The intensity of the actors, taking the subject matter seriously, giving it their all... pure FUN!

I always get THE LITTLEST REBEL and THE LITTLE COLONEL mixed up when I think of SHIRLEY TEMPLE films, but while they both have the same sort of background (the Civil War and post-Civil War), the quality of entertainment is vastly different.

This one gets off to a painfully dull start, with Shirley's mother (EVELYN VENABLE) running off with a Yankee (JOHN BOLES), and later returning home with her little girl only to find that the grandfather has never forgiven her for marrying a Yank. Naturally, it's up to little Shirley to melt the heart of the crusty grandfather (LIONEL BARRYMORE) and we all know how that's going to turn out.

What makes the film interesting are the dance segments with BILL ROBINSON, as the tap dancing servant, most memorably in the staircase dance that is always shown whenever there are film clips from any of Shirley's Fox films. And for an added surprise, there's the finale which is photographed in three strip Technicolor and gave the world its first glimpse of the child star in color.

Summing up: Racial elements are plentiful but, hey, this was 1935--a different world then--but the story is so wishy-washy that it's only suitable for die hard Temple fans.

With all of her usual show-stealing spark, Shirley Temple delivers another fun family classic as Lloyd Sherman in "The Little Colonel." Proving yet again that there's no problem she can't solve, Shirley reconciles an old grudge between her young mother (played by Evelyn Venable) and her crusty southern grandfather (played by Lionel Barrymore), who disowned his daughter for marrying a Yankee. Shirley's classic tap dance up the staircase with Bojangles Robinson will remind all of her fans of what a true dancing prodigy she really was. And a few scenes later, her song "Love's Young Dream" will show you why her singing is not as well remembered as her dancing. Don't get me wrong: Shirley shines in fast, snappy songs, but her voice was not made for slow numbers like this one.

"The Little Colonel" is a nice family film, but except for the iconic staircase dance, there is little to distinguish it from most of Shirley's childhood flicks. The claim that this film smashed through racial barriers by placing Shirley Temple opposite African-American screen legends Bojangles Robinson and Hattie McDaniel is almost laughable. Rather, Robinson and McDaniel play complete racial stereotypes: Robinson is the clichéd childish, comical servant ("The stereotyped picture of gay song-singing cotton pickers," to quote Maya Angelou). Watch him stand idly by while Barrymore fusses and fumes at him, because he knows "the old colonel don't mean no harm." Meanwhile McDaniel is a Mammy figure, loyal, caring, and always glad to serve the white folks (McDaniel later won an Oscar for playing the same Mammy figure in "Gone With the Wind"). In her famous novel, "The Bluest Eye," Toni Morrison writes, "I hated Shirley. Not because she was cute, but because she danced with Bojangles, who was my friend, my uncle, my daddy, and who ought to have been soft-shoeing it and chuckling with me. Instead he was enjoying, sharing, giving a lovely dance thing with one of those little white girls whose socks never slid down under their heels."

But one cannot really expect better from a film made in 1935, when America was, unfortunately, still in the Dark Ages as far as African-Americans and their rights were concerned. Such clichéd roles were the only acting jobs available for African-Americans at the time, and so Robinson's and McDaniel's talents are largely untapped as their characters completely lack the depth given to white actors. For example, Lionel Barrymore's Colonel Lloyd has both positive and negative characteristics: He is a temperamental hothead who remains bitter over the Civil War, but he is also a southern gentleman who immediately brings his new neighbors a bouquet of flowers to welcome them.

The grand tradition of Shirley Temple movies shows the sweet orphan child melting the crust off an old curmudgeon. In The Little Colonel, she's not an orphan, but she still gets to melt Lionel Barrymore, the king of all crotchety old men! It's a perfect pairing, and a very sweet movie, so if you haven't seen it in a while (or haven't seen it at all), rent it and remind yourself how cute it is.

This one's set in the post-Civil War south. Shirley's grandfather is Lionel, and he disowned his daughter for marrying a Yankee. When Shirley and her mother Evelyn Venable move to the same neighborhood as Lionel, the young girl doesn't understand why they're not allowed to socialize with a part of their family. Do you think she'll wander over to the scary grandfather's property and eventually win him over? It's Shirley Temple, so that's always a safe bet.

Every Shirley Temple movie has its own reason for being famous, and this one is the staircase dance. The incredibly famous staircase dance between Shirley Temple and Bill Robinson comes from this movie, and it was so scandalous to have an interracial dance in 1935 that Southern states, the theaters cut that scene from the projection! It was totally acceptable to show Hattie McDaniel working nonstop in the kitchen, joking about her no-good ex-husband, but it wasn't okay for Shirley and Bill to hold hands and tap dance up the stairs. That's 1935 for you! In any case, this cute movie is worth seeing, especially because you can now see all of it.

Though really a comedy-drama that focuses on the reconciliation of an estranged father and daughter in the years following the American Civil War, the film pairs Shirley Temple with Bill "Bojangles" Robinson in the first of four cinematic pairings between Robinson and the most successful child star of all time. Most of Temple's films contain a song and dance or two, and this one features the duo's famous staircase dance. --Musicals on the Silver Screen, American Library Association, 2013

This is one movie everyone should watch, if only to see the remarkable Shirley Temple. Who's the child star to end all child stars! Not only is her talent for acting amazing in a seven-year-old, but she sings and dances so incredibly! (If her parents bragged about her, they had every right to.) There's also the outstanding performances of Lionel Barrymore, Hattie McDaniel, and Bill (Bojangles) Robinson to add to the picture. With all this talent, you won't be bored!

The story itself is typical of 1930's melodrama. It takes place in Kentucky in the 1870's, where widower Colonel Lloyd (Barrymore) is still fighting the Civil War in his heart after losing his son, and won't except his daughter, Elizabeth's engagement to "Yankee" Jack. Nothing will change his mind, but Elizabeth won't give up the man she loves and leaves to marry him, despite her father's intent to cut her out of his life. Six years later, Elizabeth returns to the south (after living in Philadelphia and out west) with her daughter (also "Colonel" Lloyd, her first name being her mother's maiden name and the "Colonel" an honorary title given by the men at the army base where they stayed, who she completely charmed), Jack having stayed out west to try his hand at prospecting. They stay at the cottage which was willed to Elizabeth by her mother, and it soon becomes apparent that her father has not forgiven her. There're problems ahead, with lack of money (Elizabeth's too proud to ask for her father's help), Jack returning, after being swindled in a prospecting deal and then falling ill, villains turning up to cause more trouble, and resolutions and reconciliations to come.

But the story takes a back seat to Shirley, as she makes her way into her grandfather's life and his heart. The scenes between her and Lionel are priceless, especially when they argue, and the hot-tempered little miss throws mud on him! (Well, he did say some unkind words about her mother.) It's so touching when they get to be friends, though each has a bit of trouble from time to time controlling their temper. These two were very well matched!

Nothing tops the show-stopping scene of Shirley dancing on the stairs with Bill Robinson, who plays the Colonel's butler. And any scenes with Hattie McDaniel are superb. (When is she not?) The two children who become friends with Shirley deserve a mention, for their acting was good, and the little boy was so adorable!

It's a short movie (less than 90 minutes), good for a time when you just want to sit and relax, and shut out the crazy world of today, by spending some time in yesterday.,

This movie was made in 1935. It's amazing how progressive its messages are. Lionel Barrymore is wooden in his role as Temple's grandfather, and the plot is beyond lame; but Shirley Temple still is fully convincing as Lloyd Sherman--a precocious, color-blind, and happiness-inducing five- year-old child of the 1870s. Hattie McDaniel, Bill Robinson, and Avonne Jackson are amazing in their rapport with Temple. There are some pretty clever lines that are really, really funny--many of them about ignorance, stubbornness, and prejudice. This movie is crying out loud for the attention of a rhetorician or a cultural studies theorist!

Historically, the appearance of a 56-year-old African-American dancing alongside a six-year-old white girl was a huge leap in interracial interactions in cinema. When veteran tap dancer Bill Robinson, a.k.a. Bojangles, took Shirley Temple's hand while the two tapped their way up and down a staircase in February 1935's "The Little Colonel," this was the first time on the screen where the two races joined hands and danced. Filming the sequence began a life-long friendship between the two stars.

Meeting for the first time while Robinson was about to instruct Shirley how to perform the tap dance scene, the little girl with the curly hair asked the towering, lanky former vaudeville performer as they were walking to the set, "'Can I call you Uncle Billy?'" Temple recalled years later. "'Why sure you can,' he replied. 'But then I get to call you darlin.' From then on, whenever we walked together it was hand in hand, and I was always his 'darlin.' Bill Robinson treated me as an equal, which was very important to me. He didn't talk down to me, like to a little girl. And I liked people like that. And Bill Robinson was the best of all."

Robinson, born and raised in Richmond, Virginia, was a veteran of the Spanish-American War before joining the vaudeville circuit tap-dancing his way to stardom. He had a unique way of dancing, calling his foot tapping "up on the toes," moving just at the waist down, earning him the nickname "Father of Tapology." His schtick of dancing on stairs began in 1918, which he perfected throughout the years. Appearing in several Broadway and off-Broadway shows, Robinson emerged as a film star with 14 movies in ten years beginning in 1932. "Little Colonel" was his seventh screen appearance. Bojangles claims he originated the idea for the two to dance on the Colonel's house staircase, receiving inspiration from a dream. "I was being made a lord by the King of England and was standing at the head of a flight of stairs. Rather than walk, I danced up," he said.

Robinson figured that Temple, who already showed her talent for tap-dancing in 1934's "Stand Up And Cheer," hadn't enough time to learn the complex routine he designed for the two of them. He gave her simple lessons on how to tap the riser and face each stair with her toes. She soon was nailing it. Robinson then decided to follow her patter on the stairs even though on film it looks like she's following his foot steps.

Robinson and Temple appeared in four films together, and the actress claimed Bojangles was her favorite co-star. Another actor who eventually bonded with the little girl throughout his life, but had a rocky beginning with her, was Lionel Barrymore. He played her grandfather in "Little Colonel," a passionate Southerner and ex-Confederate soldier who was bitter his daughter, Elizabeth (Evelyn Venable), was marrying a Northerner, Jack Sherman (John Lodge). Temple had a knack for remembering not only her lines but others as well. During one scene, Lionel forgot his line. The six-year-older, in front of the film crew, told him what his scripted words were. The actor turned red and walked off the set embarrassed. After politely being informed that maybe it wasn't the best tactic to employ, Temple, quick on her feet, got her autograph book, went to his dressing room, and humbly asked for him to sign it. The cuteness of Shirley and the way she approached him immediately calmed him down and the two returned to the set to resume filming.

Film reviewer Dennis Schwartz labels the "highly entertaining film is perhaps Shirley's best and remains an American classic." With already five movies under her belt, February was a special month for Shirley Temple: at the Academy Awards ceremony she was the first of twelve child actors under 18 years old to receive a miniature Juvenile Oscar, this in recognition for her collective 1934 films. When Fox Films merged with Twentieth Century Pictures to adopt its new name 20th Century-Fox, the man in charge of the enlarged studio Darryl F. Zanuck considered Shirley his greatest asset. She received special treatment for her talents, having 11 writers, called the Shirley Temple Story Development team. These writers created original plots all centered around her, complete with her dimples and curly hair. She even had her own four-room house on the studio grounds, and a personal body guard assigned to protect her from adoring fans.