Amore tzigano

• Romantic drama based on the novel and play by J. M. Barrie, from RKO and director Richard Wallace. Gavin (John Beal) is the new minister assigned to a church in a small Scottish town, circa 1840. His youth and slight frame belie his fiery rhetoric and impassioned sermons. The locals chafe under the oppressive rule of Lord Rintoul (Frank Conroy), and a mysterious gypsy girl (Katharine Hepburn) gives valuable intelligence about the Lord's attempts to suppress revolt using armed troops. Gavin falls for the gypsy girl, but she has a secret that may doom them both. Also featuring Byron Foulger in his film debut.

Judging by the description, I was reluctant to watch this, as it doesn't sound like something I'd care for, despite the presence of Hepburn (for whom I watched) and a couple of the supporting players. I was surprised to find myself enjoying this, and more than the average viewer, judging by the IMDb score. I thought Beal assayed his role perfectly, a combination of youthful self-righteousness and naive social blunderer, and that Hepburn was strong, funny, attractive, and vibrant. Among the others, Alan Hale was a stand-out as the hulking town drunk looking for redemption. This was the sixth, and so far final, film version of the Barrie work.

A mysterious & headstrong gypsy girl falls in love with THE LITTLE MINISTER called to pastor in a small Scots village. Soon her influence has him behaving in a most unclerical manner, with repercussions for the entire community.

Although sadly neglected & overlooked, this fine, sentimental film, based on a 1891 novel by Sir James M. Barrie, features excellent performances and superior production values. RKO lavished care & money to get the details just right; it is a fine example of how Hollywood films of the period could evocatively portray other times, other places.

Katharine Hepburn has one of her most fetching roles in the exuberant Babbie. Full of boundless energy & good humor, yet fiercely protective of those weaker & less fortunate than she, Hepburn turns in a beguiling, always entertaining, performance. While there is really no mystery as to the true identity of her character, this in no way hinders Hepburn from continually delighting her expectant audience.

In the title role, John Beal (born James Alexander Bliedung in 1909) had doubtless the best role of his career in this, his second, film. By underplaying his scenes, he holds his own with the vivacious Hepburn. Exhibiting real star quality, it is unfortunate that the good movie roles failed to materialize. Beal did quite a bit of work through the years on the stage and had a triumph in television's THE ADAMS CHRONICLES in 1976. John Beal died in 1997 at the age of 87.

A very fine supporting cast lends depth to the smaller roles: Andy Clyde as the lonely village policeman; Donald Crisp as the local doctor; Reginald Denny as a pompous army captain; Mary Gordon as an elderly indigent; Alan Hale as the community's repentant drunk; Lumsden Hare as a strict & powerful church deacon; Eily Malyon as a member of the aristocracy; Beryl Mercer as Beal's devout mother; and Dorothy Stickney as a fluttery maid.

Mention should be made of Max Steiner's lovely score, which incorporates old & familiar tunes.

A couple of historical notes: the Auld Licht (Scottish for 'Old Light') is mentioned many times in the film. This was the very conservative Church of Scotland, or Presbyterian Church in America, which had the allegiance of a majority of the Scots people. Barrie's original novel was of the Kailyard (Scottish for a small cabbage patch near a cottage) School of writing which had great favor in Scotland in the late 19th Century. This style featured highly idealized & sentimental representations of Scottish village life. Thrums in THE LITTLE MINISTER would certainly be a prime example.

Very rarely was Katharine Hepburn cast as the Scot she was by descent. Our most popular image of her was with that clipped Bryn Mawr accent, cool, elegant, and sophisticated. She only played two Scots in her life Queen Mary Stuart who if truth be told was more French than Scots and the gypsy waif in The Little Minister.

This was certainly an unusual project for Kate requiring her to adapt a Scottish burr to her speech. She also plays the mysterious gypsy girl who stirs the elders of that Presbyterian congregation more than they realize. She certainly stirs the new minister in town, John Beal who's come to live there with his mother Beryl Mercer.

In an odd way Kate's character of Babbe is like the ditzy heiress in Bringing Up Baby, wreaking havoc wherever she goes, but charming Cary Grant as she does John Beal here. If James M. Barrie had twisted the plot in a Somerset Maugham direction, Kate's Babbe could easily have been a Scottish Sadie Thompson. Turn that one over in your mind.

But she's a lot more than she seems as Beal and the rest eventually find out. Beal does well as the earnest young man in his first parish, trying hard to do the right thing, but hormones just seem to be getting in the way. They'll do that. Good thing Kate was not a Sadie Thompson character.

The Little Minister is based on a novel by James M. Barrie about an unfamiliar time for Americans. I'm sure the film did well in the British Isles for RKO where they would have been more familiar with the history and mores of the time. Still it's an unusual part for Katharine Hepburn, her devoted fans would be the first to agree.

Hmmmmm .... strange one, this. Though it was made as early as 1934, it is no less than the FIFTH film adaptation of J.M. (Peter Pan) Barrie's stage play. It is a simple love story, set in a Scottish hamlet in early victorian times. RKO do the period feel very well indeed (check out the churchyard scene) and we can forgive a few shaky Scottish accents.

Gavin Dishart is the handsome young man who has just been appointed minister to the church at Thrums. He meets Babbie, a mysterious gypsy girl, and suddenly his life is transformed, and some of his values need to be reappraised.

"The fall of man through the temptation of woman" is Gavin's improvised sermon, and it encapsulates the theme of the film. The light coquetterie between Babbie and Gavin is very well done, and for the young generation of 1934 this must have been a terrific date movie. Max Steiner, RKO's contract composer, provides the score.

John Beal is ideal as the innocent young pastor, and Katharine Hepburn is impressive in a gentler, less stridently feminist role than was usual for her. She is memorable in the scene where she takes off at an athletic sprint, trailing skirts behind her. Beal is great in the scene where Gavin rues the missed kiss. Wearyworld, the unpopular policeman, adds a touch of wry humour: actor Andy Clyde appears to be a genuine Scot, though his Glaswegian accent is wrong for this lowland village. He is, one would guess from his style of delivery, a veteran of the music halls. Alan Hale Snr. is Rob Dow, the local drunk. Wise, humane Doctor McQueen is played admirably by Donald Crisp.

Memorable images include the zoom-in on the fast-disappearing "irresponsible, light-headed gypsy" which informs us that Babbie may amount to more than she seems, and the dour faces of the three elders at Mrs. Dishart's door.

Verdict - curious early Hepburn vehicle with nice period atmosphere

Firstly, the characters are set at a time which is difficult for most to imagine or even understand in 2004 terms. "old style religion" actually did tend to be very much interested in the moral affairs of it's congregation, and particularly of it's minister. the film " how Green is my Valley" also shows a similar insight into the heavier attitudes of people to moral affairs. That gypsies have also not always been peoples favourite visitors is also well known. So when we meet up with a light and easy 'gypsy' in the shape of Katherine Hepburn we are instantly drawn to her (with an unknown playing the part we would have needed to be won-over). But in the early 1930's Hepburn was almost an 'unknown', but in 2004 we are already biased in her favour, and so we should, she's still learning her trade as an actress, and shows immense presence, wit, and is eminently enjoyable.

The character of Gavin by contrast needed to be somewhat subdued and so it was that the film and it's characters are displayed to our enjoyment. For a film made when many were still learning how to make films, how to cast off the attitude that 'we are on stage', when cameramen and directors were making real entertainment based on a good story, fine acting, NO computer gimmicks it's one of those many 1930's in retrospect feel good movies that older folk can relate with.