Truly Dreadful Film

Best movie of this year hands down!

If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

Blistering performances.

A Disney's vintage live action mounted with magnificent Technicolor treatment, running more than 2 hours, POLLYANNA is a life-affirming fairytale directed by old-hand writer David Swift as his feature debut, while accidental tragedy sweeps under its carpet.A young girl named Pollyanna (Mills), who has lost her parents and is adopted by her aunt Polly (Wyman) in Harrington's Town, where she is not just a prim wealthy matriarch, but also the mighty decision-maker of the whole town, yes, she is the sole heiress of Harrington family. So up from the mayor Karl (Crisp), the minister Paul Ford (Malden), down to her house staff, assistant Nancy (Olson), cook Tillie (Shaw) and maid Angelica (Canfield), everyone is either intimidated by her supremacy or surrendered to the vested interest involved.Therefore, Pollyanna's arrival is destined to break the unhealthy equilibrium and bring her ingenuously sanguine school of thought into the town by winning over everyone! It will hardly work in an authentically cynical world, but thankfully it is in Disneyland, the stranger- shunning recluse Mr. Pendergast (Menjou in his final silver screen presence) is actually a Mr. Nice Guy, and the cantankerous bed-ridden Mrs. Snow (Moorehead, shines in her scene-stealing bellyaching) is no more than a big baby just needs a little bit of motivation. Even Reverend Ford can be generously granted a thorough catharsis through Pollyanna's seemingly unintentional chit-chat. The point is in Harrington's Town, there is no evil, even for Aunt Polly, she is never malevolent, in fact she is just shackled by her self-appointed lofty duty to act as a role model for the townsfolk, as discreetly as possible. Her strong intention to maintain the ancient orphanage is more for the building's legacy other than her own sake, albeit a better solution is to build a new one. So, things can have been tread lightheartedly until DP Russell Harlan's ominous overlooking shots raise no less fear for agoraphobic than Hitchcock's VERTIGO (1958, 8/10), also amps up the suspense is Paul J. Smith's ferociously taut accompanying score which in most of time is as jolly as a bumblebee in the spring. For those who haven't read the novel from Eleanor H. Porter (me included), it is a shocking twist, and in one second, we may even believe we will lose her forever, only if it was true, the film would be worshiped for its groundbreaking bravura and gutsy dare to defy Disney's family-friendly quintessence. Although it turns out to be a bluff, the movie is excellent in at least tricking me into believe it even for a split second. Hayley Mills won a Juvenile Award in the Oscars, which in my opinion, the Academy should keep it aside from the usual acting branch (in that case we could have avoided the glaring category fraud cases such as Hailee Seinfeld and Tatum O'Neal), Mills is quite distinctive from other cherubic child sensations, she is neither a pretty doll nor a resplendent princess, she is plainly approachable, Mills illuminates the screen with her refined line-delivery and urgent sincerity without ever over-acting or dumbing down to memories by rote. Jane Wyman also establishes a powerhouse omnipresence in her absolute wheelhouse, never flaunts in the abysmally ambiguous "villain" categorization where she is, her aunt Polly is a victim of overpriced dignity, she enriches her with every bit of nuance which may not in the script. Most supporting characters are cartoon-ish, Richard Egan is quite a dull as Dr. Chilton and Nancy Olson is unprecedentedly harsh at the beginning, but Karl Malden's hectoring Sunday sermon is very amazing to watch and not to go deep into religion, people are either too devout or put-upon to hear it for three years, still is not long enough to brainwash their simpleton minds.

I watched this as part of my ongoing Oscar marathon, since it landed child actress Hayley Mills in her U.S. debut (and only second official role) an "Outstanding Juvenile Performance" Honorary Award; incidentally, it was the last time such recognition was bestowed by the Academy and in all, there had been 11 such occasions and 12 recipients – oddly enough, in only a handful of cases (as here) were specific movies cited, namely Margaret O'Brien for MEET ME IN ST. LOUIS (1944), Ivan Jandl for THE SEARCH (1948) and the Jon Whiteley-Vincent Winter team in the recently-viewed THE KIDNAPPERS (1953)! Anyway, this is among the better regarded (getting a ***1/2 rating from Leonard Maltin!) and more prestigious of the Walt Disney live-action productions (based a much-filmed children's literary classic – including an anime series from the mid-1980s I recall being shown on Italian TV in my childhood days! – and featuring a splendid cast) and obviously made an international star of Sir John Mills' elder 14-year old daughter (who had already impressed audiences opposite her father in the acclaimed British thriller TIGER BAY {1959}). The expected double dollops of Disney mawkishness and corny Americana are here, to be sure, but thankfully kept largely at bay by first-time writer/director Swift (whose own career was pretty short-lived!) for the overly generous 134-minute duration: there is only one brief song interlude (sung by Mills, of course) and a lengthier dance number at an all-important bazaar sequence. The film has been issued as a 2-Disc "Vault Edition" DVD, but I only acquired the main feature from ulterior sources.All that remains for me now is to talk about the stellar cast: Mills herself (a very pleasing and natural performance as the titular orphan girl who literally enlivens the fabric of the morose town she visits), Jane Wyman (her embittered matriarchal aunt), Richard Egan (the rebellious doctor and prodigal son of the community who is in love with the latter), Karl Malden (the hellfire-and-brimstone preacher who eventually softens his Bible-thumping grip on the townspeople), Nancy Olson (Wyman's liberal maid and Pollyanna's confidante), Adolphe Menjou (his last film role, as the proverbial hermetical town ogre with a heart of gold), Agnes Moorehead (an inveterate hypochondriac and the feminine counterpart of the latter), Donald Crisp (Egan's uncle and the ineffectual mayor), Kevin Corcoran (a freespirited orphan who befriends Pollyanna and is ultimately adopted by Menjou), Edward Platt (the typical henpecked husband who gradually finds his spine) and Ian Wolfe (an elderly citizen).It is worth noting that, apart from setting off Mills on a brief run of Disney movies – THE PARENT TRAP (1961; a dual role), IN SEARCH OF THE CASTAWAYS (1962; one of the studio's best efforts), SUMMER MAGIC (1963), THE MOON SPINNERS (1964) and THAT DARN CAT! (1965) – it also meant a follow-up for Corcoran to TOBY TYLER (1960; his most notable 'vehicle' among a handful of other Disney films). Apart from several members of the cast being themselves past Oscar winners (Wyman, Malden and Crisp) and nominees (Olson, Menjou and Moorehead), most also ended up doing stints in long-running TV series: Mills in THE FLAME TREES OF THIKA (1981), Wyman in FALCON CREST (1981-90), Egan in CAPITOL (1983-87), Malden in THE STREETS OF SAN FRANCISCO (1972-77), Moorehead in BEWITCHED (1964-72), etc.

Considering that Pollyanna was his debut, writer and director David Swift does a very good job here. Pollyanna does have its faults, but it is a solid adaptation of a charming book.Where Pollyanna isn't so strong is in the length and the pacing. At over 2 hours, the film is a little too long, while the film does move fairly slowly. My final flaw is that twenty minutes or so before the end, the tone changes and this change was somewhat jarring.Nonetheless, Pollyanna is exquisitely filmed with stunning cinematography, costumes and scenery, and the music is lovely. The script is well written and the story still has its charm. The direction is as solid as the film itself, while the acting is very good. Hayley Mills gives a spirited performance in the title role, while Agnes Moorehead comes very close to stealing the film. Karl Malden, Jane Wyman and Adolphe Menjou also do great turns as the cheerless citizens whose lives are transformed by Pollyanna.Overall, has its faults but it is a solid and charming film. 7/10 Bethany Cox

A little orphan named Pollyanna (Hayley Mills with her English accent intact) goes to live with her strict (but sweet) Aunt Polly (Jane Wyman). She's so nauseatingly sweet that all the mean old people in the town find warmth, love and happiness through her. Yuck! Even for Disney this is syrupy.This is a typical live action Disney film. Everybody talks in a G rated way, all the mean (but secretly nice) adults end up being sweet and kind and all the kids are ridiculously cute and "lovable". The story itself is just ridiculous--even for Disney. A little orphan spreading peace and love all around. Sheesh! The acting is pretty bad too. Talented actors like Wyman, Richard Egan and Karl Malden (as a priest!) can do little with the lousy dialogue. Mills is terrible also --but she was only 14 when she did this. Only Agnes Moorehead manages a performance. The film also moves VERY slow--it runs over 2 hours! Also the last 20 minutes are so unbelievably manipulative I actually felt like throwing something heavy at the TV! Too long, too sweet and too unbelievable. This gets a 2 for Moorehead alone.