ridiculous rating

I gave it a 7.5 out of 10

In other words,this film is a surreal ride.

I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

Although most of the Shirley Temple movies were quite formulaic, most of them had a great deal of charm, and this is probably one of the better ones. One of the things that makes many of the Temple films so great are the supporting casts, and this one has a great cast.Shirley is a tad older here, but still bubbly, although this one doesn't have quite the classic songs that many of the films did. Here she plays an orphan that ends up living with an adoptive family in a show biz hotel. Of course, there is a threat to take Shirley away...that's to be expected.Edward Ellis is very pleasant as "Pop" and manager of the hotel.Edna May Oliver plays the bad "guy" who wants to shut down the hotel and have Shirley returned to the orphanage. If there's anything that doesn't work about this film, it's Oliver. She's simply too lovable to not come around and be an old softie. You know it's coming from the very beginning. Oliver has shined in practically every film she every appeared in -- she was a great scene stealer.Donald Meek, another wonderful character actor, shines here in a role that is just a little bigger than usual, here as the brother of Oliver.George Murphy proves once again that he was a pretty good hoofer and could play roles that were very sympathetic. Here he plays the bridge between his aunt (Oliver) and Temple's family.Jimmy Durante shines as a Broadway trooper with a big heart. Jane Darwell is here as the head of the orphanage. And the wonderful Claude Gillingwater plays the judge.Corny, of course. Heartwarming, of course. And just one more example that Shirley Temple could do what no other child actor ever could before or since. Try watching this film and not find yourself smiling.

Cynical New Yorkers must have rolled their eyes to see the glamorous art deco court room featured in the climax of this Shirley Temple vehicle which turns Chambers Street into 42nd Street when tap-dancing George Murphy goes up against his pickle-pussed aunt (Edna May Oliver) to keep a hotel for actors which they own open. Temple starts off this charming comedy with a few musical numbers by singing "Be Optimistic". Of course, she's got a lot to be optimistic about. She's been adopted by the old man who runs the hotel (Edward Ellis) and his pretty daughter (Phyllis Brooks), not realizing that the crabby old pumpkin next door (Oliver) is furious over bandleader Jimmy Durante's constant interruptions of her desire for quiet and decides to demand the back rent building renter Ellis owes.It's obvious from the start that Oliver's crabby old bat is really a big pile of mush hidden under that fabulous horse face. She threatens to steal the picture just by her name in the title, and her comic genius is evident when she visits the hotel and is visited by a marching penguin and various acrobatic acts. Donald Meek comes close second as her milquetoast brother who secretly performs on the side and stands up to a butler who reports everything to his bossy sister. When he breaks out in a fight dance, it is one of those delicious moments of visual comedy that proved that the character performers were often better than the stars.For one of the few times in his career, "Swedish" comic El Brendel is unobtrusive, commenting on the action with the aforementioned penguin who basically makes his presence in the film more tolerable than his early talkie appearances in the Fox musicals. The musical finale towards the end is of course outrageously ostentatious, turning a courtroom into the equivalent of a Mickey/Judy barn! The reactions from Claude Gillingwater as the judge is worth the price of admission alone, and of course, he applauds with his gavel. One of the oddest bloopers in film history appears in this sequence which shows George Murphy plain as day sitting in the court room in a suit watching Shirley perform, then magically re-appearing moments later swinging open the courtroom doors in tuxedo and tap-dancing his way back in. This "Little Miss Broadway", of course, never appeared on Broadway, but for post depression and pre-war audiences needing escapism, this didn't matter. Pure entertainment is entertainment, no matter how off the wall it ends up being.

Little Miss Broadway is a very enjoyable movie musical format in miniature with bright,bouncy tunes,a plot that moves with light touches of comedy,sentiment and slight conflicts..All the main characters perform solidly,but THE main sharply etched brilliant performance belongs to Edna May Oliver...when I was a child,I was at first repelled by her "mean old pumpkin" ways...OH! but to look closer as one grows older..WOW! What subtle hysterical faces and brilliance beneath that unique face and her ever so subtle softness of heart which peeks out more and more towards the end..She truly stands out..such a marvelous artist!

Not-bad musical fluffball starring Shirley Temple, predictably sentiment-driven and extravagant, yet somehow fruitier than usual. Shirl plays an orphaned tyke adopted into a show-biz family overflowing with kooky characters (including tap-dancing midgets and a Swede with a pet penguin). A highlight of the film is the courtroom climax, which turns into a Busby Berkeley-styled musical production. Temple isn't at her peak here, in fact she seems rather unsure of herself on occasion. Fortunately, the rest of the players (including Jimmy Durante and Phyllis Brooks) are game, making up for the star's stiffness, and director Irving Cummings adds a good deal of eccentric pizazz. **1/2 from ****