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An Intangible Good: Butler's "The Little Colonel" 

     As Sennwald writes in his review of The Little Colonel, in 1935, "the Shirley Temple situation [was] rapidly getting out of hand" (The New York Times). Just twenty years post-slavery, during the Reconstruction era, this ray of sunshine took Hollywood by storm, specifically in this film directed by David Butler. As Belton writes in his chapter on the "Studio System" in American Cinema/American Culture, anthropologist Hortense Powdermaker once coined Hollywood as "a dream factory" (64) - in other words, a paradox that cinema possesses characteristics of both a booming industry as well as a profound art form. Belton points out intangible goods as direct products of this dream factory - the fact that unlike other industry that produces definite commodities, cinema can be hit or miss. What determines the success of a particular film often stems from the cultural norms of the time, or pertinent ideologies. In The Little Colonel, Temple's performance as the progressive young girl, Lloyd, embodies the themes of reconciling family life, as well as integration of people of all colors. Not only does the dream factory reflect current social conditions but also equally results in paradigm attitudinal shifts in viewers, as Sennwald delineates in The New York Times, "... bring[s] out the best in everyone who sees it." Collectively, the mise-en-scène, combined with progressive characters of The Little Colonel, exemplify how the dream factory's intangible goods fuel cinema's power as a medium to influence society and create new norms.

     In his third chapter on "Style," Belton describes "mise-en-scène" as the relationship between every element within a shot to the actors, decor, lighting, camera position, etc. (47); The Little Colonel's cinematic style effectively portrays the theme of lingering segregation as well as the evident division between the North and the South, through which the director presents the audience with the choice to perpetuate racism or embrace progressive thought, as does Lloyd (Temple) in her naiveté. Firstly, the brief opening montage that portrays Kentucky in the 1970s with dim lighting paints an image of the upper echelon of the South - the few angles of the plantation, then transition to its interior with an immediate focus on the harp player and the beautiful sounds of the instrument. The set dressing (e.g., impressive chandeliers, ornate furniture and tapestries, and long windows), along with the fancy and enviable character wardrobes, demonstrate the apparent luxuries of the aristocratic South. Butler juxtaposes these White characters along with their elaborate costuming and comfortability within their social sphere with Walker, the servant, as he comes close to knocking over a vase. The Colonel reprimands Walker for his careless behavior. However, Butler makes a point to emphasize one of the male characters dressed in a suit in one of the initial two-shots thanking Walker for a drink - showing gratitude to a person of alleged inferior social status. In a split second, nonetheless, this minor character is then quick to madden at Walker's near-accident, almost angering merely for the sake of calling out a man of color for a potential wrongdoing. In this way, the combination of mise-en-scène serves the opening sequence in establishing a tone for the film - the grey area between breaking free of the remnants of slavery but holding on to both White and Southern supremacy. Secondly, Butler makes excellent play of colors throughout the film, especially by contrasting Colonel Lloyd's (Grandfather's) stark white suit with the mud thrust upon him by his granddaughter in the scene with the children playing in the woods; this evokes the question in the viewer as to whether "Black-ness" tarnishes White purity in the 1930s or if the two can coexist in peace. Finally, Butler implements the motif of the flower, specifically pink, throughout the film, to symbolize new life blossoming, as well as maintain a light tone or sense of hope for the reconciliation of Lloyd's family at the film's culmination. In a way, young Lloyd channels this message of the pink flower, evident in her attendance of the all-Black baptism; she stands out as the precious pearl in the crowd, yet feels completely at-home with her friends of color. Butler's skillful threading of mise-en-scène throughout the movie serves the overall idea that a single film can stimulate thought in a viewer, or simply encourage questioning of the current social climate.

     The Little Colonel's characters vary on the scale of socially-acclimated to, initially, stuck within a disdain for both union of the nation and integration of races, revealing the dangers of remaining caught within old school values that no longer serve current (1930s) increasingly liberal ideologies. Young Lloyd serves as hope for the future, for more untainted, open-minded, and confident young women who embrace all walks of life. For Lloyd, Mom Beck (Becky) means the world to the young girl who seems not to pay much regard to skin color but rather content of character. Lloyd's strong moral compass leads her to separate the ethically improprietous (i.e., the two men who attempt to rob her father of his land deed) from the morally sound (i.e., the entire Black cast). Elizabeth, Lloyd's mother, also boasts a tight-knit relationship with her maid, the Mammy archetype, with whom Elizabeth seeks solace while her husband, Jack, leaves home and then falls ill. Both Elizabeth and Young Lloyd appreciate the story's Help and treat the maids with respect. Elder Colonel Lloyd, on the other hand, must first undergo a character transformation in order to finally embrace Jack, the Yankee, as well as begin to accept his granddaughter's penchant for spending time with the Help's children, Lily and Henry Clay. Nonetheless, he does come around by the film's resolution and drops hints at moving towards the right direction as an American, not an isolated Confederate. The fact that his granddaughter stimulates this inherent change in his stern, immovable belief system, reveals Young Lloyd's influence in her youth, underscoring the power of the young to impact the future. In support of this, Belton, in Early Film Sound, cites technological advancements that heighten a "greater realism" (233); Belton refers to the advent of sound allowing certain elements of a film to now be produced. For example, Temple's tap dancing numbers with Robinson, now with synchronized sound, further emphasize the theme of desegregation. In her work on Race and Sexuality, Orr Vered includes a D. W. Griffith quote to the essence that there can be nothing more captivating than a White girl dancing with a Negro (53). Due to technology of the time, such scenes could be filmed, adding to the verisimilitude of not only the film but also its message that two races (literally) holding hands represents (Butler's vision of) the future. Additionally, referring back to the concept of Hollywood as the dream factory, movie-making holds as a business; therefore, these controversial and provocative dance numbers within The Little Colonel's integrated musical style gain attention, advance the film, and, ultimately, expose larger audiences, both domestically and internationally, to the spectacular and fresh "now."

     To conclude, Sennwald's opinion about the Shirley Temple situation growing out of control (The New York Times) lies on a positive note. The power of one charming child star stands evident in the success of The Little Colonel and Temple's fame, still to-this-day. During a new time in Hollywood with the rise of the studios, such pieces as Butler's involved risk-taking, as with any intangible good. In this film, the comic relief, easy-to-follow plot, enthusiastic characters, and, of course, detailed mise-en-scène all equate to a solid piece of cinema. Though not each viewer's favorite, there can be no denial that the piece impacted and continues to affect its audiences in regard to opinions on post-Civil War conditions. During the 1930s Depression era, many Americans desired escapism. This film maintains its comedic tone while educating all cinema-goers on history, and, at the same time, perpetuating Hollywood as an economic stronghold, attracting consumers to the theater. (Fall 2016 FTVS 313 Student)