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The Poor Little Rich Girl
Gwen's family is rich, but her parents ignore her and most of the servants push her around, so she is lonely and unhappy. Her father is concerned only with making money, and her mother cares only about her social position. But one day a servant's irresponsibility creates a crisis that causes everyone to rethink what is important to them.
Year: 1917
Studio: Artcraft Pictures Corporation
Director: Maurice Tourneur
Cast: Mary Pickford, Madlaine Traverse, Charles Wellesley, Gladys Fairbanks, Frank McGlynn Sr., Emile La Croix
Crew: Maurice Tourneur (Director), Frances Marion (Scenario Writer), Adolph Zukor (Producer), Ben Carré (Production Design), Lucien N. Andriot (Director of Photography), John van den Broek (Director of Photography)
Runtime: 65 minutes
Release: Mar 05, 1917
IMDb: 5.68/10 by 36 users
Popularity: 1
Country: United States of America
Language: English
Budget: 0
Revenue: 0
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There is something of the Lewis Carroll in this quite touching story of a young girl "Gwen" (Mary Pickford) who lives with her wealth-obsessed father (Charles Wellesley) and her socially-obsessed mother (Madlaine Traverse) who indulge their daughter insofar as money allows, but who pretty much neglect her otherwise. Despite her best efforts to engage with her parents - the spirited eleven year old "Gwen" makes little progress so seeks friendship amongst the local (not exactly "suitable" children) culminating in quite an entertaining mud fight. When two of the servants at her home mix her medication, she becomes dangerously ill and the whimsical elements introduce themselves - she has some wonderfully surreal dreams of the life she might like to have had; avenges the ill-treatment of her governess, addresses the indifference of her parents (a potent scene with her father sitting by a dollar pill printing machine churning out note after note...) - all whilst the bed-side waiting parents have to completely reevaluate their own priorities. Pickford was mid-20s playing the diminutive child, and she does it with a plausible, tomboy-ish, innocence that carries the humorous elements of Eleanor Gates' play well. At times it is a little too far-fetched, but Maurice Tourneur keeps the focus on the underlying theme of familial incivism front and centre and effective whilst ensuring the steady pace keeps the whole thing enjoyable to watch.