This film is unexpectedly relevant to what is happening today, 70 years later, as the Western world is being flooded with spoilt 'Frankenkinder' and China is being flooded with even more spoilt 'little emperors'. This is a very gritty tale written by the Romanian refugee Jean Negulesco, before he had begun to direct films. Negulesco did not write the script, and I suspect that was softened, and the ending made more sentimental than in his original story, in order to be more 'audience friendly'. Bonita Granville, a highly talented young actress of the time (best known for her four Nancy Drew mystery films, in which she excelled when she was somewhat older), plays the neglected daughter of a truly appalling spoilt rich couple. The mother is the worst sort, many of whom I have had the misfortune to know and who are more common than ever today; her interest is herself, and a child is at best an accessory and at worst a nuisance to be disposed of to servants and then to a boarding school. In her case, however, she did not even have the excuse of being a 'killer career woman', but was merely an idle and vain social snob. The father is only interested in making money, and is always out doing so. This leaves the normally charming Bonita, who has a great deal of fire to her character, to rebel and become in protest a hideously spoilt brat, and eventually even a delinquent entangled in a crime. This process is clearly shown, to a degree not at all normal in Hollywood films, where false sentimentality was the usual way to view children. Bonita Granville rises to the challenge extremely well, not hesitating to make herself as odious as necessary. There is a very wicked butler who torments the girl secretly, there is a very nice male secretary who tries to help her, and eventually an angelic school headmistress who wishes to save her. The film is really a very savage attack on the idle rich and their family victims. Negulesco, who had been a 'companion to rich older women' at Nice before coming to Hollywood, was clearly describing a woman of precisely the type he had known personally, with a rich absent husband and a victimized daughter such as he must have observed at first hand. It is a bitter tale, and honestly done except for the ending.
15 Reviews
Nice Job Bonita
aimless-4619 September 2007
A parental neglect social statement that comes dangerously close to the unintentional hilarity of "Reefer Madness". Fortunately it is saved by an extremely strong performance by Bonita Granville in the lead role (Roberta Morgan). While a bit of a reprise of her "These Three" nastiness, Granville's "The Beloved Brat" (1938) title role has considerably more dimensionality and the young actress displays unexpected range.
Granville was generally more cute than sexy, but this film has a pre-code feel to it and emphasizes her sensual side in several scenes. Donald Briggs of the pencil thin mustache plays her father's male secretary and they have a couple curious scenes together. These are certainly more interesting than his mildly romantic scenes with Dolores Costello who plays school principal Helen Morgan.
While the film might be of some interest to those focused on "Blacks in Hollywood", this is an extremely minor element within the film, artificially inserted just to lamely expand the "becoming a better person" theme.
Despite mostly weak supporting performances, Granville manages to sell her character and keeps a very unoriginal story quite involving. Fortunately she is in almost every scene. A must see for her fans.
Then again, what do I know? I'm only an inner child.
Granville was generally more cute than sexy, but this film has a pre-code feel to it and emphasizes her sensual side in several scenes. Donald Briggs of the pencil thin mustache plays her father's male secretary and they have a couple curious scenes together. These are certainly more interesting than his mildly romantic scenes with Dolores Costello who plays school principal Helen Morgan.
While the film might be of some interest to those focused on "Blacks in Hollywood", this is an extremely minor element within the film, artificially inserted just to lamely expand the "becoming a better person" theme.
Despite mostly weak supporting performances, Granville manages to sell her character and keeps a very unoriginal story quite involving. Fortunately she is in almost every scene. A must see for her fans.
Then again, what do I know? I'm only an inner child.
Reconsidering my initial thoughts and re-evaluating a movie with a controversial subject.
mark.waltz27 November 2018
Warning: Spoilers
I must say that this is a difficult film to give a high rating to simply because it is extremely unpleasant to watch. Approximately ten years ago, I watched this and rated it a "1" without reviewing it at the time. However, reconsidering that and doing some research has made me up that rating. The film focuses on some very dark issues concerning family matters that are usually hidden behind closed doors and never discussed. The only difference is that this family issue comes from an upper-class family where the growing daughter Bonita Granville is greatly abused and ends up becoming nearly as evil as Rhoda in "The Bad Seed". Nellie Oleson of "Little House on the Prairie" has nothing on Granville's character here, although I do wonder if Michael Landon happened to see this movie and decided to reform Nellie based on what Granville went through in this film. Her parents, Natalie Moorhead and Donald Crisp, obviously know that she is around, and Moorhead is particularly nasty to her, being rather aggressive in taking her dog away and even has the rather nasty butler lock her in her room when she misbehaves. Moorehead is more concerned with her society parties, and Crisp is occupied with business, and when they aren't entertaining or working, they are traveling, leaving Granville alone and friendless.
The key scene in this movie that drives Granville over the edge is the butler's response to Granville's bringing a young black boy (Matthew "Stymie" Beard of "Our Gang" fame) in as a guest while the parents are traveling. The butler is beyond brutally nasty, and it is very brave of the screenwriter to show such blatant racism in a film long before such racism was shown in most movies. The fact that a child is the victim of racism makes it stand out even more. What is touching is the scene when Granville visits the boys house and is welcomed with open arms by his warm and loving mother who seems befuddled by the fact that Granville obviously shows signs of not being loved by her own parents. The various misbehavior's that Granville ends up committing are as close to Rhoda's theft and murder in "The Bad Seed", and it becomes very apparent that she needs major psychological help. That comes in the form of Dolores Costello, one of the instructors at a home for basically Wayward rich girls, those who have been neglected by their own rich parents and showed behavioral issues. Granville rebels from the start but it is very apparent that somehow Costello will manage to get through to her.
The way the film is resolved is somewhat hard to take because everything happens in a period of just over an hour. The screenwriter allows Granville to express through very deep emotional breakdowns why she has turned out the way she has and even allows the parents to be confronted by the effects of their neglect. Moorhead, a forgotten actress whose work I have come to admire, looks quite different than she did in those melodramas of the 1930's with her pulled back platinum blonde hair, and comes across quite matronly. It is through her realization of her own neglect of her daughter that comes to impact her soul and ultimately makes her so filled with guilt that she ends up near death, leading to Crisp realizing that atonement for both of them is necessary if they are to survive as a family unit. I found the ending to be a little contrived, and wish that there had been more detail in what lead up to Granville being neglected in the first place and the steps that the parents took to make amends and to allow everybody to move forward and they truly feels. It is the thought process that takes over the viewer's mind after seeing this movie that makes it more memorable than the film itself, and it is a tale for parents and children of all times, all generations and all races. There is just something about the title though that bothers me, because it just doesn't really reflect what the film is all about.
The key scene in this movie that drives Granville over the edge is the butler's response to Granville's bringing a young black boy (Matthew "Stymie" Beard of "Our Gang" fame) in as a guest while the parents are traveling. The butler is beyond brutally nasty, and it is very brave of the screenwriter to show such blatant racism in a film long before such racism was shown in most movies. The fact that a child is the victim of racism makes it stand out even more. What is touching is the scene when Granville visits the boys house and is welcomed with open arms by his warm and loving mother who seems befuddled by the fact that Granville obviously shows signs of not being loved by her own parents. The various misbehavior's that Granville ends up committing are as close to Rhoda's theft and murder in "The Bad Seed", and it becomes very apparent that she needs major psychological help. That comes in the form of Dolores Costello, one of the instructors at a home for basically Wayward rich girls, those who have been neglected by their own rich parents and showed behavioral issues. Granville rebels from the start but it is very apparent that somehow Costello will manage to get through to her.
The way the film is resolved is somewhat hard to take because everything happens in a period of just over an hour. The screenwriter allows Granville to express through very deep emotional breakdowns why she has turned out the way she has and even allows the parents to be confronted by the effects of their neglect. Moorhead, a forgotten actress whose work I have come to admire, looks quite different than she did in those melodramas of the 1930's with her pulled back platinum blonde hair, and comes across quite matronly. It is through her realization of her own neglect of her daughter that comes to impact her soul and ultimately makes her so filled with guilt that she ends up near death, leading to Crisp realizing that atonement for both of them is necessary if they are to survive as a family unit. I found the ending to be a little contrived, and wish that there had been more detail in what lead up to Granville being neglected in the first place and the steps that the parents took to make amends and to allow everybody to move forward and they truly feels. It is the thought process that takes over the viewer's mind after seeing this movie that makes it more memorable than the film itself, and it is a tale for parents and children of all times, all generations and all races. There is just something about the title though that bothers me, because it just doesn't really reflect what the film is all about.
Surprisingly Gritty
dougdoepke4 January 2015
Warner Bros. was known for gritty gangster pictures. Here, of all things, they've fashioned a gritty adolescent girl film, with a lot more boldness than I ever expected. More than a brat, Roberta's a little hellion, flinging food trays and emotional tizzies at the slightest provocation. We understand her problems come from an unloving wealthy household where she and the butler (Vogan) go ten-rounds without a referee.
But consider the darker side. She is, after all, partially responsible for the death of an innocent motorist, when she grabs the car wheel from butler Jenkins. The probation school reckoning for that strikes me as pretty mild. Nor, rather surprisingly, does the screenplay supply a moral reckoning. Also unexpected is the casualness with which Roberta crosses the colorline with Pinkie (Beard) and his Negro family. But then, she probably identifies more with them than with her distant mother and father. And I agree with another reviewer that there seems some innuendo from the handsome Williams toward the budding young woman.
All of this strikes me as unusual for a Production Code programmer. But then writer Negulesco directed some of the better studio products of the 40's and 50's, including the soulful Deep Valley (1947) and the surprisingly sensitive Take Care of My Little Girl (1952). Then too, Granville turns in an absolutely bravura performance that rivets attention throughout. Quite a risk for a young actress to make herself so unlikable for so much of the movie. Anyhow, the last third lapses into something much more conventional, as might be expected for what remains a commercial product. Nonetheless, there's enough of the unconventional in both filming and writing to make this little obscurity worth catching up with.
But consider the darker side. She is, after all, partially responsible for the death of an innocent motorist, when she grabs the car wheel from butler Jenkins. The probation school reckoning for that strikes me as pretty mild. Nor, rather surprisingly, does the screenplay supply a moral reckoning. Also unexpected is the casualness with which Roberta crosses the colorline with Pinkie (Beard) and his Negro family. But then, she probably identifies more with them than with her distant mother and father. And I agree with another reviewer that there seems some innuendo from the handsome Williams toward the budding young woman.
All of this strikes me as unusual for a Production Code programmer. But then writer Negulesco directed some of the better studio products of the 40's and 50's, including the soulful Deep Valley (1947) and the surprisingly sensitive Take Care of My Little Girl (1952). Then too, Granville turns in an absolutely bravura performance that rivets attention throughout. Quite a risk for a young actress to make herself so unlikable for so much of the movie. Anyhow, the last third lapses into something much more conventional, as might be expected for what remains a commercial product. Nonetheless, there's enough of the unconventional in both filming and writing to make this little obscurity worth catching up with.
Formerly Unbeloved...
xerses1324 October 2010
Bonita Granville, prior too 1938 plied her trade primarily at RKO with stints at other studios, like Paramount. For the most part her roles were of a obnoxious BRAT and not a very sympathetic character. Sometimes mildly irritating, like in CALVACADE (1933) FOX, often a real pain in the ass as in THESE THREE (1936) RKO or MAID OF SALEM (1937) PARAMOUNT. In late 1937 she was contracted by Warner Brothers (WB) and her career took a decisive turn.
THE BELOVED BRAT (1938) WB, clearly showed this change of pace. Bonita played a young Girl who is ignored by her business obsessed Father and a Mother more interested in 'bridge clubs' and local social exercises then her parental obligations. The first is somewhat excusable, the latter not at all. Though fifth-teen (15) at the time Bonita plays her character younger then her years, but gets it across very well. Her tribulations take her from confused and defiant adolescent to responsible young person. Ending with love and understanding for all.
Ms. Granville is supported by a competent script and cast. It was refreshing to see Black-Americans portrayed as Friends and not simple minded lackey's. At the WB and other studios they were often portrayed in a stereotypical way, particularly in the films of Bette Davis. She also has the advantage of Donald Crisp (was he ever young?) as her Father. I have never seen Mr. Crisp phone in a role, he is a professional every time. Silent Star, Doleros Costello, the former Mrs. John Barrymore (Drew's Grand-Mother) also delivers the goods. Still a delicate beauty and showing a effortless acting style.
Ms. Granville would work at the WB till the early 1940s' then moving on to MGM with occasional loan-outs. In all of her films she would bring her competent abilities and mature into a attractive actress. She knew when the 'gig' was up, married well (multi-million$ & oil) and became a Producer of LASSIE (T.V.)! This Women really had her head screwed on straight, dieing rather young at Sixty-Five (65).
THE BELOVED BRAT (1938) WB, clearly showed this change of pace. Bonita played a young Girl who is ignored by her business obsessed Father and a Mother more interested in 'bridge clubs' and local social exercises then her parental obligations. The first is somewhat excusable, the latter not at all. Though fifth-teen (15) at the time Bonita plays her character younger then her years, but gets it across very well. Her tribulations take her from confused and defiant adolescent to responsible young person. Ending with love and understanding for all.
Ms. Granville is supported by a competent script and cast. It was refreshing to see Black-Americans portrayed as Friends and not simple minded lackey's. At the WB and other studios they were often portrayed in a stereotypical way, particularly in the films of Bette Davis. She also has the advantage of Donald Crisp (was he ever young?) as her Father. I have never seen Mr. Crisp phone in a role, he is a professional every time. Silent Star, Doleros Costello, the former Mrs. John Barrymore (Drew's Grand-Mother) also delivers the goods. Still a delicate beauty and showing a effortless acting style.
Ms. Granville would work at the WB till the early 1940s' then moving on to MGM with occasional loan-outs. In all of her films she would bring her competent abilities and mature into a attractive actress. She knew when the 'gig' was up, married well (multi-million$ & oil) and became a Producer of LASSIE (T.V.)! This Women really had her head screwed on straight, dieing rather young at Sixty-Five (65).
An early sociological view of the juvenile delinquent
Handlinghandel10 October 2007
In the title role, Bonita Granville appears about as lovable as she'd been two years earlier in "These Three." A brat: Yes. Beloved? Not really. Not by the audience and not by her family.
She gets into mischief of an increasingly serious nature. Her self-involved wealthy parents are given the option of sending her to a school that seems to be a step above reform school.
The luminous Dolores Costello is employed there. Oh, who can forget her heartbreaking performance a few years later in "The Magnificent Ambersons"? She's very good here too.
All the acting is at least decent and often more than that.
From the beginning we see that Granville's character is the monster she is because no one -- not even her parents' servants -- likes or pays real attention to her. It's far from a great movie but it's also better than one would expect.
She gets into mischief of an increasingly serious nature. Her self-involved wealthy parents are given the option of sending her to a school that seems to be a step above reform school.
The luminous Dolores Costello is employed there. Oh, who can forget her heartbreaking performance a few years later in "The Magnificent Ambersons"? She's very good here too.
All the acting is at least decent and often more than that.
From the beginning we see that Granville's character is the monster she is because no one -- not even her parents' servants -- likes or pays real attention to her. It's far from a great movie but it's also better than one would expect.
Very entertaining in spite of silly plot
csteidler22 January 2020
Poor little rich girl Bonita Granville is lonely. It's her birthday but her parents are too busy even to have lunch with her. "I'm sorry, I can't make it," her father tells her casually. "Now, anything else you want for your birthday, just name it and it's yours."
Granville wanders off and makes a friend - a kid named Pinky who has a pop gun and likes to go fishing. But when Granville invites Pinky over to her house, the butler calls him a ragamuffin and throws him out. Now Bonita is mad and you can hardly blame her. One thing leads to another and soon she has set her bedroom on fire, helped to cause a car accident, and been sent to a girls' school to reform.
It's sappy and predictable but this family drama is still hard to resist. Bonita Granville pours on the wild mood swings pretty heavily, but in spite of the overblown emotions she remains charismatic and even charming. She makes us cringe a couple of times but we are certainly happy to root for her.
Donald Crisp and Natalie Moorhead give competent but thankless performances as the clueless parents. Dolores Costello is fine as the lead teacher at the school who urges patience with Granville; she strikes up a friendship with Donald Briggs, the one adult whom Granville seems to trust. A young Leo Gorcey appears in one scene and pushes Bonita into a river.
Overall, Bonita Granville is pretty much the whole show. It's a ridiculously corny plot but, surprisingly, it works.
Granville wanders off and makes a friend - a kid named Pinky who has a pop gun and likes to go fishing. But when Granville invites Pinky over to her house, the butler calls him a ragamuffin and throws him out. Now Bonita is mad and you can hardly blame her. One thing leads to another and soon she has set her bedroom on fire, helped to cause a car accident, and been sent to a girls' school to reform.
It's sappy and predictable but this family drama is still hard to resist. Bonita Granville pours on the wild mood swings pretty heavily, but in spite of the overblown emotions she remains charismatic and even charming. She makes us cringe a couple of times but we are certainly happy to root for her.
Donald Crisp and Natalie Moorhead give competent but thankless performances as the clueless parents. Dolores Costello is fine as the lead teacher at the school who urges patience with Granville; she strikes up a friendship with Donald Briggs, the one adult whom Granville seems to trust. A young Leo Gorcey appears in one scene and pushes Bonita into a river.
Overall, Bonita Granville is pretty much the whole show. It's a ridiculously corny plot but, surprisingly, it works.
poor little rich girl
SnoopyStyle30 April 2020
Roberta Morgan (Bonita Granville) has wealthy parents who don't care much about her. She is forced to give up a puppy for embarrassing her mother. She acts out against the household help. She befriends black siblings, Pinkie White and his sister Arabella. She is impressed with their loving family. She acts out more when Jenkins the butler kicks out her guest Pinkie.
I don't know the old time definition of brat. She's not really bratty in the modern sense for the first half hour. She's more a poor little rich girl. Of course, the fire is very bratty and the perjury is unforgiveable. In the end, Roberta is a conflicted character. The turns are abrupt. I would have preferred a simply runaway story and Pinkie can help her return home. The story leaves me a little unsatisfied. Leo Gorcey does have a good scene looking like his Dead End Kid. Granville is a fine young sassy actress. So I like the first half but the second half is not as compelling.
I don't know the old time definition of brat. She's not really bratty in the modern sense for the first half hour. She's more a poor little rich girl. Of course, the fire is very bratty and the perjury is unforgiveable. In the end, Roberta is a conflicted character. The turns are abrupt. I would have preferred a simply runaway story and Pinkie can help her return home. The story leaves me a little unsatisfied. Leo Gorcey does have a good scene looking like his Dead End Kid. Granville is a fine young sassy actress. So I like the first half but the second half is not as compelling.
Insufferable brat is more like it...
Doylenf19 September 2007
BONITA GRANVILLE specialized in playing brattish kid sister roles throughout most of the '30s (when she wasn't playing Nancy Drew), and this is one of her more insufferable roles as a rich brat given to tossing dinner trays out the window when in a huff.
She plays the neglected daughter of DONALD CRISP, only instead of pouting the way Shirley Temple would do under these "dire" circumstances, Bonita takes a feistier approach, talking back to the house servants and refusing to eat her spinach with much more vehemence than Shirley ever showed.
She befriends a black boy, only because he promises to teach her how to use his rifle. LEO GORCEY turns up as another unlikely companion for the poor little rich girl and from then on the film becomes pretty unwatchable as Bonita is taught a thing or two about changing her snobbish ways.
By the time the plot gets any thicker, Bonita has totally lost the patience of her parents as well as the viewer. Too bad Warner Bros. couldn't come up with better scripts for their child star instead of casting her in these insipid programmers that are enough to wear anyone's patience.
Any resemblance to the real world is purely coincidental.
Trivia note: The script was written by Jean Negulesco, who later made a much better director than screenwriter.
She plays the neglected daughter of DONALD CRISP, only instead of pouting the way Shirley Temple would do under these "dire" circumstances, Bonita takes a feistier approach, talking back to the house servants and refusing to eat her spinach with much more vehemence than Shirley ever showed.
She befriends a black boy, only because he promises to teach her how to use his rifle. LEO GORCEY turns up as another unlikely companion for the poor little rich girl and from then on the film becomes pretty unwatchable as Bonita is taught a thing or two about changing her snobbish ways.
By the time the plot gets any thicker, Bonita has totally lost the patience of her parents as well as the viewer. Too bad Warner Bros. couldn't come up with better scripts for their child star instead of casting her in these insipid programmers that are enough to wear anyone's patience.
Any resemblance to the real world is purely coincidental.
Trivia note: The script was written by Jean Negulesco, who later made a much better director than screenwriter.
Beloved, My @ss
ArtVandelayImporterExporter30 April 2020
It was fun, at first, to see the lead character acting like a complete brat. Refreshing to see black kids treated like normal kids, instead of racist stereotypes. Though I have to point out their mom doesn't get off so lightly. Nevertheless, Stymie Beard steals those early scenes. That kid had amazing comedic chops.
I didn't lose my mind when the Brat was responsible for vehicular manslaughter because, well, this is make-believe.
But she is such a relentless brat that it got tiresome. The only thing that kept me watching in the second half was Dolores Costello.
Wouldn't watch again.
I didn't lose my mind when the Brat was responsible for vehicular manslaughter because, well, this is make-believe.
But she is such a relentless brat that it got tiresome. The only thing that kept me watching in the second half was Dolores Costello.
Wouldn't watch again.
A riveting account of racial prejudice and child neglect.
grafxman28 October 2003
Warning: Spoilers
Bonita Granville deserved another Oscar nomination for this performance. She plays the only child of very rich and very preoccupied parents. They leave instructions with the servants as to the upkeep of their daughter.
A TINY SPOILER FOLLOWS
One day she encounters a small black boy hunting on the estate and befriends him. He is her only friend in the world. When she goes to his house in the black section of town, she finds a warm and loving household, just what she has always wanted.
She invites the small black boy back to the mansion and instructs the servants to set an extra place for supper. When the butler sees the little black boy at the table, he snatches the kid up and tosses him out the front door! Bonita Granville goes berserk. All of this happens within the first few minutes of this terrific film.
My only regret is that I couldn't give this film more than the ten points I did give it.
A TINY SPOILER FOLLOWS
One day she encounters a small black boy hunting on the estate and befriends him. He is her only friend in the world. When she goes to his house in the black section of town, she finds a warm and loving household, just what she has always wanted.
She invites the small black boy back to the mansion and instructs the servants to set an extra place for supper. When the butler sees the little black boy at the table, he snatches the kid up and tosses him out the front door! Bonita Granville goes berserk. All of this happens within the first few minutes of this terrific film.
My only regret is that I couldn't give this film more than the ten points I did give it.
More than just a cut and dry morality tale.
planktonrules21 September 2015
Warning: Spoilers
In the 1930s and 40s, there were quite a few exploitation films that purported to be exposés on the danger of bad parenting. I've seen quite a few of them and most are really crappy--with terrible acting, writing and production values. This film, however, is different in that it is an A-quality picture--with top writing, acting and a really nice overall production. And, unlike so many of these films, it's really worth seeing.
This film is about Roberta (Bonita Granville), a 13 year-old who comes from a very wealthy family. However, despite having so much privilege, the child is miserable and lonely. Her parents are completely self-absorbed and in one heartbreaking scene, the child is left to celebrate her birthday with her servants and no one else. Eventually, this lonely girl meets a younger boy, Pinkie (Stymie Beard*) and they soon become fast friends. However, her very nasty butler later throws Pinkie out of the house--treating him like garbage because he's black. For the most part, this butler and the other servants are a cold and unlikable lot.
Eventually, Roberta runs away and this isn't at all surprising. When the family butler finds her, he's pretty nasty and offers no understanding at all--manhandling her into the car and driving her home. However, Roberta has become a real brat and begins fighting with him as he's driving. As a result, they have an accident and someone is killed. Roberta, seeing a chance to have revenge on the butler, tells the police he's been drinking and was at fault and the driver is sentenced to prison. Soon, however, the truth comes out and as a result, Roberta is sent to reform school.
This reform school is actually a very nice place and they try very hard to make her feel welcome. But Roberta is an angry young lady and makes herself as hated as possible. At this point, the judge is more than willing to send her to a more prison-like facility but the head of the school (Delores Costello**) begs for more time. Eventually, it pays off and Roberta blossoms and becomes a positive and likable young lady. What's next? Well, here is where the film loses a bit of its believability as the parents start to wonder if perhaps they bore some responsibility in making Roberta a brat. Hard to believe, absolutely. But it did make for a sweet tug at your heart sort of ending. And, I must add that the final tracking shot was incredibly well done.
There's actually a lot to like about this film. Foremost, Granville did a great job conveying both sadness and brattiness. A lesser actress couldn't have carried it off so well. The script is also nice. Some might think it all is a bit too schmaltzy and unrealistic--and for some, I am sure it is. But I thought this was a very nice film--especially because in addition to making an excellent point about parenting, it also makes a wonderful statement about race. The blacks in the film are people--decent, normal people--and that's a rare thing for a film made during that era.
*Stymie is best known for his recurring role as one of the Little Rascals.
**Ms. Costello is best known for being one of John Barrymore's wives.
This film is about Roberta (Bonita Granville), a 13 year-old who comes from a very wealthy family. However, despite having so much privilege, the child is miserable and lonely. Her parents are completely self-absorbed and in one heartbreaking scene, the child is left to celebrate her birthday with her servants and no one else. Eventually, this lonely girl meets a younger boy, Pinkie (Stymie Beard*) and they soon become fast friends. However, her very nasty butler later throws Pinkie out of the house--treating him like garbage because he's black. For the most part, this butler and the other servants are a cold and unlikable lot.
Eventually, Roberta runs away and this isn't at all surprising. When the family butler finds her, he's pretty nasty and offers no understanding at all--manhandling her into the car and driving her home. However, Roberta has become a real brat and begins fighting with him as he's driving. As a result, they have an accident and someone is killed. Roberta, seeing a chance to have revenge on the butler, tells the police he's been drinking and was at fault and the driver is sentenced to prison. Soon, however, the truth comes out and as a result, Roberta is sent to reform school.
This reform school is actually a very nice place and they try very hard to make her feel welcome. But Roberta is an angry young lady and makes herself as hated as possible. At this point, the judge is more than willing to send her to a more prison-like facility but the head of the school (Delores Costello**) begs for more time. Eventually, it pays off and Roberta blossoms and becomes a positive and likable young lady. What's next? Well, here is where the film loses a bit of its believability as the parents start to wonder if perhaps they bore some responsibility in making Roberta a brat. Hard to believe, absolutely. But it did make for a sweet tug at your heart sort of ending. And, I must add that the final tracking shot was incredibly well done.
There's actually a lot to like about this film. Foremost, Granville did a great job conveying both sadness and brattiness. A lesser actress couldn't have carried it off so well. The script is also nice. Some might think it all is a bit too schmaltzy and unrealistic--and for some, I am sure it is. But I thought this was a very nice film--especially because in addition to making an excellent point about parenting, it also makes a wonderful statement about race. The blacks in the film are people--decent, normal people--and that's a rare thing for a film made during that era.
*Stymie is best known for his recurring role as one of the Little Rascals.
**Ms. Costello is best known for being one of John Barrymore's wives.
Granville Make the Film Worth Watching
Michael_Elliott9 December 2011
Beloved Brat, The (1938)
** 1/2 (out of 4)
Extremely bizarre and at times dark tale of rich girl Roberta (Bonita Granville) who hates the fact that her parents (Donald Crisp, Natalie Moorhead) think they can just give her money and nothing else when in fact she wants their attention and love. Roberta begins acting out and this leads to some tragic events, which finds her in a girl's school ran by a woman (Dolores Costello) who thinks she can reach her. THE BELOVED BRAT is one of the craziest movies I've seen from any of the major studios during this era. I can't say I completely understood what they were going for but I will admit that I've become a major fan of Granville over the past several years. Most people are going to remember her from the four Nancy Drew pictures made by Warner but she appeared in quite a few good films but for some reason her star never fully raised into a major career, which was a real shame. She has no problem playing the "brat" here. She's rather perfect in the role as she has no problems being mean when she has to and God knows she certainly knows how to throw a fit here. Just check out the scene where she pretty much beats up her butler after he throws her friend out of the house. She also manages to be quite believable when it comes time to show the more tender side of the character. Both Crisp and Moorhead are wasted in their thankless roles and even Costello doesn't show up until forty-minutes into the movie. Costello at least manages to be very charming in her part as is Matthew 'Stymie' Beard who plays the black friend who teaches Roberta how to shoot a gun. Leo Gorcey also appears in one scene. This is an incredibly dark movie at times with the subject matter going way past what most would consider a brat. There's several scenes where Roberta is quite abusive but even more disturbing are a few scenes where she's abused by the butler (Emmett Vogan). These scenes are extremely brutal when viewed today and there's even a scene where he repeatedly tells this 13-year-old girl to kill herself. I'm guessing this type of behavior was more acceptable back in the day but viewing it today makes one feel rather uneasy. There's even a scene where Gorcey pushes Granville into a river and she falls back and the scene shows her legs spread and her panties exposed. Considering the era I'm a little shocked that this here got past the censors or even that the studio didn't do a different take. With that said, the film has such a surreal feel to it that you can't help but be entertained and the 62-minute running time passes quite quickly. However, it's certainly Granville's show and she's the main reason to watch.
** 1/2 (out of 4)
Extremely bizarre and at times dark tale of rich girl Roberta (Bonita Granville) who hates the fact that her parents (Donald Crisp, Natalie Moorhead) think they can just give her money and nothing else when in fact she wants their attention and love. Roberta begins acting out and this leads to some tragic events, which finds her in a girl's school ran by a woman (Dolores Costello) who thinks she can reach her. THE BELOVED BRAT is one of the craziest movies I've seen from any of the major studios during this era. I can't say I completely understood what they were going for but I will admit that I've become a major fan of Granville over the past several years. Most people are going to remember her from the four Nancy Drew pictures made by Warner but she appeared in quite a few good films but for some reason her star never fully raised into a major career, which was a real shame. She has no problem playing the "brat" here. She's rather perfect in the role as she has no problems being mean when she has to and God knows she certainly knows how to throw a fit here. Just check out the scene where she pretty much beats up her butler after he throws her friend out of the house. She also manages to be quite believable when it comes time to show the more tender side of the character. Both Crisp and Moorhead are wasted in their thankless roles and even Costello doesn't show up until forty-minutes into the movie. Costello at least manages to be very charming in her part as is Matthew 'Stymie' Beard who plays the black friend who teaches Roberta how to shoot a gun. Leo Gorcey also appears in one scene. This is an incredibly dark movie at times with the subject matter going way past what most would consider a brat. There's several scenes where Roberta is quite abusive but even more disturbing are a few scenes where she's abused by the butler (Emmett Vogan). These scenes are extremely brutal when viewed today and there's even a scene where he repeatedly tells this 13-year-old girl to kill herself. I'm guessing this type of behavior was more acceptable back in the day but viewing it today makes one feel rather uneasy. There's even a scene where Gorcey pushes Granville into a river and she falls back and the scene shows her legs spread and her panties exposed. Considering the era I'm a little shocked that this here got past the censors or even that the studio didn't do a different take. With that said, the film has such a surreal feel to it that you can't help but be entertained and the 62-minute running time passes quite quickly. However, it's certainly Granville's show and she's the main reason to watch.
Black kids sitting at table with whities. Amazing for time!
rosemarydemko6 May 2020
Warning: Spoilers
Am 60+ year film devotee. Can't recall a Hollywood film of this era depicting first, such overt acknowledgement of the usual treatment of non-whites at the time(i.e., the butler), second, black children(black adults would have been astounding) sitting at a table with white kids! Of course the Af-Am mother is serving.
Beloved Bonita
jarrodmcdonald-114 November 2022
Warning: Spoilers
Bonita Granville was good at playing incorrigible young girls. She had a memorable turn as a spoiled rich kid in Sam Goldwyn's THESE THREE (1936), where she stirred up considerable trouble for the characters played by Merle Oberon and Miriam Hopkins. I am sure her performance in that picture is what led to Warner Brothers creating this coming-of-age drama for her, since she is basically playing a similar role.
In early scenes we learn that her wealthy mother (Natalie Moorhead) doesn't know how to handle her. In fact, most of the child-rearing in the Morgan home is left to the servants. This means that Granville is often lashing out and at odds with the butler (Emmett Vogan). He goes overboard in trying to get her back in line. Sometimes her well-meaning father (Donald Crisp) tries reasoning with her, but time interacting with his daughter is minimal, since his focus is on business.
Sadly, Moorhead and Crisp become so distant that they fail to recognize the girl's thirteenth birthday. Feeling neglectful, Granville escapes the unpleasantness of her folks' home and ends up spending her free time at the house of a black boy (Stymie Beard) who's become one of her best friends. She sees how much her friend's mother (Bernice Pilot) dotes on him and his sister, causing her to realize what she's missing in her own life.
After she returns home, she becomes even more unruly. There is a very effective scene where she sets fire to her bedroom to get attention. This is followed by a memorable sequence where she is on the road with the butler, who had disapproved of her black friend. As they drive along the highway, Granville grabs the steering wheel which results in the vehicle crashing into an oncoming motorist. The other driver is killed, and someone must assume responsibility.
A short time later Granville has taken the blame for the accident, and she's sent to a reformatory. She has difficulty getting along with the other girls at first, and doesn't do her chores correctly. She is still a privileged teen with a tremendous chip on her shoulder. She gradually softens under the tutelage of the head mistress (Dolores Costello). They form a special bond, and Granville starts to experience love and proper discipline.
As the 62-minute B film heads down the final stretch, we see a change in Granville's character that allows her to become more human. Interestingly, the actress would shed these bad girl roles soon afterward and become cast as more wholesome types. Especially when Warners assigned her to a series of B crime flicks playing adolescent sleuth Nancy Drew.
As for Miss Costello, she began her film career as a child star but had advanced to more sophisticated roles. In addition to playing a maternal figure with Granville, she was also Freddie Bartholomew's mother in LITTLE LORD FAUNTLEROY as well as Tim Holt's mother in THE MAGNIFICENT AMBERSONS. She had her hands full with Holt, who played a real brat!
In early scenes we learn that her wealthy mother (Natalie Moorhead) doesn't know how to handle her. In fact, most of the child-rearing in the Morgan home is left to the servants. This means that Granville is often lashing out and at odds with the butler (Emmett Vogan). He goes overboard in trying to get her back in line. Sometimes her well-meaning father (Donald Crisp) tries reasoning with her, but time interacting with his daughter is minimal, since his focus is on business.
Sadly, Moorhead and Crisp become so distant that they fail to recognize the girl's thirteenth birthday. Feeling neglectful, Granville escapes the unpleasantness of her folks' home and ends up spending her free time at the house of a black boy (Stymie Beard) who's become one of her best friends. She sees how much her friend's mother (Bernice Pilot) dotes on him and his sister, causing her to realize what she's missing in her own life.
After she returns home, she becomes even more unruly. There is a very effective scene where she sets fire to her bedroom to get attention. This is followed by a memorable sequence where she is on the road with the butler, who had disapproved of her black friend. As they drive along the highway, Granville grabs the steering wheel which results in the vehicle crashing into an oncoming motorist. The other driver is killed, and someone must assume responsibility.
A short time later Granville has taken the blame for the accident, and she's sent to a reformatory. She has difficulty getting along with the other girls at first, and doesn't do her chores correctly. She is still a privileged teen with a tremendous chip on her shoulder. She gradually softens under the tutelage of the head mistress (Dolores Costello). They form a special bond, and Granville starts to experience love and proper discipline.
As the 62-minute B film heads down the final stretch, we see a change in Granville's character that allows her to become more human. Interestingly, the actress would shed these bad girl roles soon afterward and become cast as more wholesome types. Especially when Warners assigned her to a series of B crime flicks playing adolescent sleuth Nancy Drew.
As for Miss Costello, she began her film career as a child star but had advanced to more sophisticated roles. In addition to playing a maternal figure with Granville, she was also Freddie Bartholomew's mother in LITTLE LORD FAUNTLEROY as well as Tim Holt's mother in THE MAGNIFICENT AMBERSONS. She had her hands full with Holt, who played a real brat!
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