I have watched this movie twice in the last year, after the BBC unearthed it from some long forgotten vault. There's no question that it seems an oddity, archaic in style, tone and subject matter. But if the viewer can overcome these barriers, and in my case the poor sound quality of the version the BBC showed, it's an involving tale with engaging central performances from the principles (and pretty reasonable Scottish accents too) and fine support from stalwarts such as Alan Hale and Donald Crisp who became well known faces over the next 40 years. What also interests, is that the period the movie was made is now over 3/4 of a century ago, and we see the earlier period of the story (1840's) through the prism of the sensibilities of that era (1930's) a similar distance from our own times. The view of the relationships, between men and women, between people of faith and the church, between individuals and the community identity they are a part of, at first they seemed to be so alien, and then I saw that these are still areas of tension in society, perhaps for ever, and in seeing that, I felt lucky to get a glimpse into history, to two pasts. This is something the 20th century and the invention of cinema are giving us for the first time in human history.
21 Reviews
A Spirited Lass
bkoganbing21 January 2009
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.
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.
Not the usual Hepburn role
google-574-1664266 January 2013
Warning: Spoilers
This is mainly interesting as an example of an early Hepburn role. In her later roles I've admired her immensely without much liking her. Here I could almost say the opposite - I liked her without much admiring her. She is very fetching in the role but there's little to indicate that here is the actress who will win the greatest number of Oscars ever awarded.
The same could be said about the movie itself. It's likable but not much to be admired. The plot made no sense to me at all. How come in a small Scottish village a woman who'd been the ward of the local laird since she was a little girl and was now his fiancée could wander around without anyone recognizing her? And what in earth did she see in the new minister? He didn't seem the sort of man she'd fall for at all. As another reviewer has remarked, it would be difficult to visualize her taking an enthusiastic part in the meetings of the Auld Licht.
As the film got near to its final denouement, I was virtually screaming at the TV "Just ask her to marry you and tell them you're engaged!" Of course that would have meant dumping the laird, but she didn't seem to have too much trouble in doing that in the end anyway.
Afternote:
In spite of my reservations about this movie, I was intrigued to know why there were so many film and TV versions of the story. This led me to read both Barrie's original novel and the later play. The Hepburn version is based mainly on the novel, and reading it makes a lot more sense of the plot. The novel was extremely popular when first published, and it's still a very good read if you're into that sort of thing.
Barrie at first didn't turn the novel into a play because he didn't think there was any actress alive who could do justice to the character of Babbie, the "Egyptian". That was until he saw the American actress Maude Adams. He wrote the play specifically for her and it made her the most popular actress on the American stage. In the play the plot is considerably changed: Babbie is no longer a genuine gypsy who was made a ward of Lord Rintoul to whom she is now engaged. She is Lord Rintoul's daughter, Lady Barbara, and she is only playing at being a gypsy. Her father wants her to marry Captain Halliwell.
I think it would have suited Hepburn more if the movie had followed the stage version instead of the novel. The play is a comedy while the novel is more of a serious romance. The movie somehow manages to pitch itself rather uneasily between the two.
The same could be said about the movie itself. It's likable but not much to be admired. The plot made no sense to me at all. How come in a small Scottish village a woman who'd been the ward of the local laird since she was a little girl and was now his fiancée could wander around without anyone recognizing her? And what in earth did she see in the new minister? He didn't seem the sort of man she'd fall for at all. As another reviewer has remarked, it would be difficult to visualize her taking an enthusiastic part in the meetings of the Auld Licht.
As the film got near to its final denouement, I was virtually screaming at the TV "Just ask her to marry you and tell them you're engaged!" Of course that would have meant dumping the laird, but she didn't seem to have too much trouble in doing that in the end anyway.
Afternote:
In spite of my reservations about this movie, I was intrigued to know why there were so many film and TV versions of the story. This led me to read both Barrie's original novel and the later play. The Hepburn version is based mainly on the novel, and reading it makes a lot more sense of the plot. The novel was extremely popular when first published, and it's still a very good read if you're into that sort of thing.
Barrie at first didn't turn the novel into a play because he didn't think there was any actress alive who could do justice to the character of Babbie, the "Egyptian". That was until he saw the American actress Maude Adams. He wrote the play specifically for her and it made her the most popular actress on the American stage. In the play the plot is considerably changed: Babbie is no longer a genuine gypsy who was made a ward of Lord Rintoul to whom she is now engaged. She is Lord Rintoul's daughter, Lady Barbara, and she is only playing at being a gypsy. Her father wants her to marry Captain Halliwell.
I think it would have suited Hepburn more if the movie had followed the stage version instead of the novel. The play is a comedy while the novel is more of a serious romance. The movie somehow manages to pitch itself rather uneasily between the two.
"Can A Man Like A Woman Against His Will?"
stryker-520 December 2000
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
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
some early fun
SnoopyStyle21 October 2018
It's 1840 Thrums, Scotland. Gavin Dishart arrives with his mother to be the new Minister in the rural town. The town is impressed with his righteous talk. Babbie (Katharine Hepburn) is a cunning irreverent gypsy and there is a town ban on the gypsies. She pranks them by inciting a revolt against imaginary troops and then the real soldiers arrive. At every turn, Babbie is able to trick Gavin until finally, he is able to proclaim his love for the gypsy.
It's silly that Hepburn is playing a gypsy and she is dressed like the most stereotypical gypsy. It is saved by her shear playfulness and the eventual explanation of the truth. Initially, she's the cat and Gavin is little more than her play thing. That's kinda fun. She broadly play acts and he falls for it every time. It turns into a romantic melodrama and she makes it work.
It's silly that Hepburn is playing a gypsy and she is dressed like the most stereotypical gypsy. It is saved by her shear playfulness and the eventual explanation of the truth. Initially, she's the cat and Gavin is little more than her play thing. That's kinda fun. She broadly play acts and he falls for it every time. It turns into a romantic melodrama and she makes it work.
I like this much more than I thought that I would
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.
AlsExGal25 January 2023
- 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.
D'ye Ken John Beal?
boblipton3 June 2023
John Beal is the new minister at a small church in Scotland. He comes across Katharine Hepburn, who seems to be a wild gypsy girl and falls in love. He does not know she is the ward of the local laird, and affianced.
Miss Hepburn was riding high at RKO at this point, having come off an Oscar for MORNING GLORY and the huge financial successful of LITTLE WOMEN. Within a few years her career would take a tumble and she would be labeled box office poison. For the moment it's a solid film version of J. M. Barrie's popular play, with a supporting cast that includes Alan Hale, Beryl Mercer, Donald Crisp, and Andy Clyde. Director Richard Wallace had his cast speak in stage-Scottish accents that I occasionally found baffling. However, the choice of properties seems to have been right in the then-current sweet spot of Miss Hepburn's star persona.
Co-star John Beal had made his screen debut only the previous year, and this was his third movie performance. He would appear in more than a hundred movies and television shows over the following sixty years before dying in 1997 at the age of 87.
Miss Hepburn was riding high at RKO at this point, having come off an Oscar for MORNING GLORY and the huge financial successful of LITTLE WOMEN. Within a few years her career would take a tumble and she would be labeled box office poison. For the moment it's a solid film version of J. M. Barrie's popular play, with a supporting cast that includes Alan Hale, Beryl Mercer, Donald Crisp, and Andy Clyde. Director Richard Wallace had his cast speak in stage-Scottish accents that I occasionally found baffling. However, the choice of properties seems to have been right in the then-current sweet spot of Miss Hepburn's star persona.
Co-star John Beal had made his screen debut only the previous year, and this was his third movie performance. He would appear in more than a hundred movies and television shows over the following sixty years before dying in 1997 at the age of 87.
Enjoyable...to a point.
planktonrules15 December 2011
Warning: Spoilers
"The Little Minister" is a very strange film. In some ways, it's very enjoyable and in other ways it's just odd. The oddest thing about this film is the casting. While Katharine Hepburn is able to approximate a Scottish accent reasonably well, casting her as a Gypsy (also called by the term 'Egyptian' in the film--an archaic word for Gypsy) is awfully strange. I just found this very hard to believe. I also found the main conflict in the film to be baffling--and didn't know exactly what the point was of this film! But, the acting was very nice--so it least it's not horrible to watch.
John Beal plays the titular character--a new minister to a church in a Scottish village. At first all is very well--the congregation like his messages and he's well respected for such a young man. But, there is a bizarre Gypsy woman (Hepburn) perplexes him and throughout the film Beal inexorably is drawn to her and vice-versa (this really made no sense at all). Now considering she show no signs of being an adherent to ANY religion, I could understand how this would be a problem for him and his job--though the film seemed to feel that somehow love conquers all. I could talk more--but really don't want to give this plot any more significance, as it's a hole-ridden mess. BUT, the acting is very nice as well as the production values (especially the music) so it's not a total waste. Not a glowing endorsement, I know.
John Beal plays the titular character--a new minister to a church in a Scottish village. At first all is very well--the congregation like his messages and he's well respected for such a young man. But, there is a bizarre Gypsy woman (Hepburn) perplexes him and throughout the film Beal inexorably is drawn to her and vice-versa (this really made no sense at all). Now considering she show no signs of being an adherent to ANY religion, I could understand how this would be a problem for him and his job--though the film seemed to feel that somehow love conquers all. I could talk more--but really don't want to give this plot any more significance, as it's a hole-ridden mess. BUT, the acting is very nice as well as the production values (especially the music) so it's not a total waste. Not a glowing endorsement, I know.
Unendurable
abooboo-29 January 2004
Which may sound strange coming from someone whose favorite film is Local Hero, but the longer this slight, overly delicate movie ran the more irritated I became with it. I appreciated the care with which it was mounted, but the story is far, far too thin to justify its nearly two hour running time. The final 30 minutes or so reminded me of the similarly unendurable A.I., the way it bludgeons you with its sickening sentimentality and needlessly draws out every scene, DEMANDING that you feel something, ANYTHING, PLEASE! The only thing I felt was nauseous. There isn't enough going on here to sustain interest. The movie might have been a mild success at 70 minutes, at over 100 it wears you down.
The fundamental flaw at the heart of this film is the notion that the entire town would be completely devastated at the knowledge that their new minister would have interest in the opposite sex. It isn't as if he's a Catholic priest, there's no rule forbidding him to get married. Why the town drunk would be practically suicidal at the rumors that the minister is seeing someone (and the fact she's apparently a lowly gypsy is never made much of) is never made at all clear. When his pitiful son tearfully explains that his dad is "over-fond of the minister," I really started to squirm. What exactly is this film suggesting and why are nearly all the other women in this town invisible besides Hepburn's Babbie? In any event, it is impossible to expect modern audiences to relate to a movie with such an alien plot device. It simply doesn't come off, and if the town drunk is so heartbroken over all of this, what exactly occurs in the final act that suddenly makes the minister's relationship with Hepburn okay?
And if you want to see an example of weak writing and storytelling, pay attention to the whole underdeveloped subplot concerning Babbie's aristocratic suitor, the one who plans to marry her "in a fortnight." Babbie airily points out a couple times that he "doesn't really love him," so it would be no big deal if she broke off their engagement. Really? Well, why are we supposed to believe that? Could it be because the man gets virtually no screen time and is stiffly portrayed by a forgettable actor? This is most certainly NOT the stuff of which classics are made. You see, there's never any contest between this man and John Beal's minister. And therefore, no drama. If you want me to believe that Beal and Hepburn are meant for each other then, as a filmmaker, you have to come up with much more compelling reasons why they are being kept apart.
If you're a fan of Hepburn or Barrie or even John Beal, you may be willing to forgive The Little Minister its many flaws, but if you're none of the above, you've been warned. This is the sort of old movie that scares people away from old movies. It wasn't much good then and it's even worse now.
The fundamental flaw at the heart of this film is the notion that the entire town would be completely devastated at the knowledge that their new minister would have interest in the opposite sex. It isn't as if he's a Catholic priest, there's no rule forbidding him to get married. Why the town drunk would be practically suicidal at the rumors that the minister is seeing someone (and the fact she's apparently a lowly gypsy is never made much of) is never made at all clear. When his pitiful son tearfully explains that his dad is "over-fond of the minister," I really started to squirm. What exactly is this film suggesting and why are nearly all the other women in this town invisible besides Hepburn's Babbie? In any event, it is impossible to expect modern audiences to relate to a movie with such an alien plot device. It simply doesn't come off, and if the town drunk is so heartbroken over all of this, what exactly occurs in the final act that suddenly makes the minister's relationship with Hepburn okay?
And if you want to see an example of weak writing and storytelling, pay attention to the whole underdeveloped subplot concerning Babbie's aristocratic suitor, the one who plans to marry her "in a fortnight." Babbie airily points out a couple times that he "doesn't really love him," so it would be no big deal if she broke off their engagement. Really? Well, why are we supposed to believe that? Could it be because the man gets virtually no screen time and is stiffly portrayed by a forgettable actor? This is most certainly NOT the stuff of which classics are made. You see, there's never any contest between this man and John Beal's minister. And therefore, no drama. If you want me to believe that Beal and Hepburn are meant for each other then, as a filmmaker, you have to come up with much more compelling reasons why they are being kept apart.
If you're a fan of Hepburn or Barrie or even John Beal, you may be willing to forgive The Little Minister its many flaws, but if you're none of the above, you've been warned. This is the sort of old movie that scares people away from old movies. It wasn't much good then and it's even worse now.
A Charming Keek At Auld Scotland
Ron Oliver15 March 2001
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.
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.
thanx for the warning
garrison-523 February 2005
thanx a lot for warning me about this film. I watched it through because it was on and it was 1 in the morning, etc., but would assiduously avoid it in the future unlike many other older films, like those of Tom Walls of 1930's British cinema or even some of Katherine's other films from the '30's like Morning Glory &c. It may be that these actors from the 30's were so restricted in their performances that they were required to behave in such a stilted fashion but I doubt it. It is much more likely that it is the actual facets of the story itself which dictate their behaviour. Oh for a spirited director to reshape the fabric of this film in a more natural way so that the characters can live and the storyline convey its underlying message in a more frank and honest manner. Bits of it sound like ned flanders for god's sake ! thanx for the opportunity to comment
Ditto Steiner's marvelous score
kinolieber8 January 2004
I really enjoyed this sentimental antique. Hepburn and Beal are terrific. Movie music fans should not miss this early Max Steiner score. I had never heard of it. It's one of his earliest through-composed soundtracks. I loved the meticulous scoring and varied arrangements of the folklike love theme, which is fully stated in the opening credits (a one minute burst of romantic fervor) and is then interpolated and altered throughout the film, first returning when Hepburn says "I do believe you've liked me all the time" to which Beal replies with the question that sums up the film's theme "Can a man like a woman against his will?". There's a great sequence where Hepburn shines a lantern through the minister's living room window. Listen to how Steiner punctuates the flashes of light. As with all good symphonic scores the love theme returns finally to tie everything together, but not before we've heard it played on everything from solo violin to bagpipes.
Gypsies, priests and leaves.
mark.waltz31 March 2024
Warning: Spoilers
One of a dozen or so classic movies that is hard to watch this version of the J. M. Barrie play is so stagey and talkie, featuring Overly dramatic performances by practically the entire ensemble, led by Katharine Hepburn and John Beal. He plays a new minister in the Scottish community braying at his congregation without even getting to know them, and quite tedious.
Hepburn by this point had several misfires ("Spitfire" and "Sylvia Scarlett"), so this one makes that period of her career her weakest time in film, almost a jinx after winning her first Oscar. Obviously they were promoting her as some sort of Garbo rival even without an accent, and she looks laughable in a gypsy costume, terribly miscast. Beal, the least known of her leading man, gives a performance that is truly embarrassing. The supporting cast Is overloaded with character actors directed to play to the rafters, oozing with gooey sentiment or righteous anger, and there's no middle ground. Alan Hale, Donald Crisp, Beryl Mercer, Eily Malyon, Mary Gordon (who popped up impractically every film requiring a Scottish or Irish character, even though her accent was strictly Scottish) and Lumsden Hare, all outlandish as directed by Richard Wallace.
This was obviously an RKO prestige picture, but it is so pretentious that it's very difficult to watch without laughing at. The set direction is very lovely with period structures really creating a believable atmosphere, and there's less wooden performances from the abundance of trees. This is the type of film that people probably walked out mocking all the outrageous accents, young Billy Watson the worst of the lot.
Hepburn by this point had several misfires ("Spitfire" and "Sylvia Scarlett"), so this one makes that period of her career her weakest time in film, almost a jinx after winning her first Oscar. Obviously they were promoting her as some sort of Garbo rival even without an accent, and she looks laughable in a gypsy costume, terribly miscast. Beal, the least known of her leading man, gives a performance that is truly embarrassing. The supporting cast Is overloaded with character actors directed to play to the rafters, oozing with gooey sentiment or righteous anger, and there's no middle ground. Alan Hale, Donald Crisp, Beryl Mercer, Eily Malyon, Mary Gordon (who popped up impractically every film requiring a Scottish or Irish character, even though her accent was strictly Scottish) and Lumsden Hare, all outlandish as directed by Richard Wallace.
This was obviously an RKO prestige picture, but it is so pretentious that it's very difficult to watch without laughing at. The set direction is very lovely with period structures really creating a believable atmosphere, and there's less wooden performances from the abundance of trees. This is the type of film that people probably walked out mocking all the outrageous accents, young Billy Watson the worst of the lot.
Not Kate's finest hour
HotToastyRag7 February 2020
If you don't like Katharine Hepburn and you're looking for more ammunition to dislike her, rent The Little Minister. I adore her, so this isn't one I'd choose to watch more than once. Her Scottish accent isn't the greatest, her character isn't the most likable, and the story isn't the most riveting in the world.
Kate is pushy and rebellious, and when Reverend John Beal makes it clear he wants nothing to do with her, she keeps deliberately crossing his path and bothering him. She's a gypsy on the side of the poor and working classes, and of course, because she doesn't take no for an answer, John finally comes over to her way of thinking. Just as in Spitfire, their romance affects the town and makes the townspeople turn against them-for no real reason. I might have missed that plot point when I fast-forwarded part of the movie.
Kate is pushy and rebellious, and when Reverend John Beal makes it clear he wants nothing to do with her, she keeps deliberately crossing his path and bothering him. She's a gypsy on the side of the poor and working classes, and of course, because she doesn't take no for an answer, John finally comes over to her way of thinking. Just as in Spitfire, their romance affects the town and makes the townspeople turn against them-for no real reason. I might have missed that plot point when I fast-forwarded part of the movie.
Sweet film adaptation of Barrie's 1891 novel
overseer-33 November 2002
This was the last film version made of this delightful story based on James Matthew Barrie's first major successful novel and play, and it is long overdue for a modern remake, done with similar charm, beauty, and simplicity, please.
Here we find a timeless tale of a fresh-faced, youthful pastor boy, direct out of seminary, who loves his mother and has affection for his congregation, but who finds himself flaunting convention by falling in love against his will with a wild, beautiful gypsy girl. You could no more imagine this girl sitting quietly in a church praying than you could imagine Ted Kennedy becoming a Republican.
Gavin the minister, though he is "little" in physical size, is not small in courage or intellectual honesty. He knows he is falling in love with this girl, but can't seem to help himself. He fights his feelings, but still he is attracted, like a moth to a flame. She tricks him and teases him in their first encounters, yet he still comes back for more. There's just something different about this Babbie that he cannot resist (and one senses the gypsy girl feels the same way about Gavin). We see their relationship growing, the congregation begins to suspect something is distracting their beloved new minister from his duties, and an inevitable confrontation is in the works.
I won't give away any more, but go rent the video sometime or catch it on AMC or TCM, especially if you wish to see Katherine Hepburn in one of her most poignant, humorous and delightful performances (she even sings, too!). Kudos also to the late John Beal, who was perfectly cast as Gavin Dishart, the little minister. And an A-plus goes to Max Steiner for his lovely background musical score. Also, read the book by JMB when you get a chance; one can't put it down.
Here we find a timeless tale of a fresh-faced, youthful pastor boy, direct out of seminary, who loves his mother and has affection for his congregation, but who finds himself flaunting convention by falling in love against his will with a wild, beautiful gypsy girl. You could no more imagine this girl sitting quietly in a church praying than you could imagine Ted Kennedy becoming a Republican.
Gavin the minister, though he is "little" in physical size, is not small in courage or intellectual honesty. He knows he is falling in love with this girl, but can't seem to help himself. He fights his feelings, but still he is attracted, like a moth to a flame. She tricks him and teases him in their first encounters, yet he still comes back for more. There's just something different about this Babbie that he cannot resist (and one senses the gypsy girl feels the same way about Gavin). We see their relationship growing, the congregation begins to suspect something is distracting their beloved new minister from his duties, and an inevitable confrontation is in the works.
I won't give away any more, but go rent the video sometime or catch it on AMC or TCM, especially if you wish to see Katherine Hepburn in one of her most poignant, humorous and delightful performances (she even sings, too!). Kudos also to the late John Beal, who was perfectly cast as Gavin Dishart, the little minister. And an A-plus goes to Max Steiner for his lovely background musical score. Also, read the book by JMB when you get a chance; one can't put it down.
A sweet, little-known film
CyranoR28 April 2000
Its tender sentimentality is out of fashion today, of course, and has been for decades. But that's the point -- and that, for me, is the beauty of this film: it's positively luminous with an innocence and understated nobility that put our postmodern "edginess" to shame. I have to wonder if we've lost the capacity to experience and appreciate such rarefied sweetness of feeling. A sadly neglected film, with one of Katharine Hepburn's incomparable early performances -- radiant, charmingly quirky, and more emotionally expressive than a dozen Garbos. Sad, too, that co-star Robert Beal never crashed into the upper ranks of stardom; I saw tremendous potential in that performance.
Remarkable film
vincentlynch-moonoi3 October 2011
Warning: Spoilers
I have to review this film from a perspective that most of us don't have. The early 1930s. And, it's necessary to review the film from that perspective for two reasons. First, the 1930s were a very different time. We often think of life in the "old days" as being so much simpler. Yet, this film deals with religious bigotry, a crisis in faith, and a seemingly forbidden love. Not such a simple life, after all. And secondly, we have to view this film from the perspective of the cinema in 1934. We have to keep in mind that a mere 7 years before this film was made, movies were still silent. Modern cinema was in its infancy here.
If there is a problem with this film, it is that it moves a bit slowly. But often when I see films from this era of the cinema, their plots are just a bit threadbare in an effort to keep the length of the film down to about 90 minutes. So, though a bit slow, particularly in the first half of the film, kudos to the screen writers and the director for taking the time needed to establish both plot and characters.
Katherine Hepburn, in only her sixth film, and her third year as a film actress, is quite remarkable here. This is a very different Hepburn than most of us are used to. She plays the role of young lady who appears to be a gypsy (but isn't) to perfection. You have to see this film to realize just how wonderful her performance is.
John Beal, as the "little minister" is very good. Too bad he never made it to a higher realm in the film industry. His mother in the film, played by Beryl Mercer, is superb. There are a number of other actors you'll recognize (such as Donald Crisp and Alan Hale), but their performances are just satisfactory, not outstanding. They do the job.
If you're a Hepburn fan, or just a fan of old movies, I urge you to watch this film. But you do have to watch it from different eyes.
If there is a problem with this film, it is that it moves a bit slowly. But often when I see films from this era of the cinema, their plots are just a bit threadbare in an effort to keep the length of the film down to about 90 minutes. So, though a bit slow, particularly in the first half of the film, kudos to the screen writers and the director for taking the time needed to establish both plot and characters.
Katherine Hepburn, in only her sixth film, and her third year as a film actress, is quite remarkable here. This is a very different Hepburn than most of us are used to. She plays the role of young lady who appears to be a gypsy (but isn't) to perfection. You have to see this film to realize just how wonderful her performance is.
John Beal, as the "little minister" is very good. Too bad he never made it to a higher realm in the film industry. His mother in the film, played by Beryl Mercer, is superb. There are a number of other actors you'll recognize (such as Donald Crisp and Alan Hale), but their performances are just satisfactory, not outstanding. They do the job.
If you're a Hepburn fan, or just a fan of old movies, I urge you to watch this film. But you do have to watch it from different eyes.
my comments are concerned with viewing a film that is now 70 years old
smithypete31 July 2004
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.
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.
Babbie of Scotland
lugonian18 June 2016
THE LITTLE MINISTER (RKO Radio, 1934), directed by Richard Wallace, stars Katharine Hepburn in her sixth feature film. Following her offbeat performance as a hillbilly girl in SPITFIRE (1934), Hepburn was brought back to formula material that suited her best – a period piece costume drama the studio hoped that would equal or surpass her remarkable performance as Jo March in LITTLE WOMEN (1933). As much as a sequel to LITTLE WOMEN might have been evident for Hepburn, interestingly enough, a sequel, titled LITTLE MEN (Mascot Studios, 1934), did get made, but for another studio casting Erin O'Brien-Moore as the new but married Jo. So another "Little" story was selected, THE LITTLE MINISTER by James M. Barrie, author whose best known work being, "Peter Pan," a title character that Hepburn might have excelled had anyone ever thought of that particular possibility, but then again ...
Opening title: "The year is 1840 – Our story is laid in the little unweaving town of Thrums in Scotland at a period where life was still simple." The story opens with the Scottish villagers of Thrums awaiting for the arrival of the new minister. The minister, Gavin Dishart (John Beal) comes out of the carriage with his mother (Beryl Mercer) to meet with Mr. Carfrae (Herbert Bunston), the old minister now entering retirement, and settle into his home of many years at the nearby church. During his first sermon, Gavin earns respect from the congregation by standing up against the tough drunkard, Rob Dow (Alan Hale), whom he later guides to a better life against drinking and becoming a better father to his young son, Miscah (Billy Watson). Hearing someone singing on the Sabbath, Gavin goes to the woods to investigate, meeting with a gypsy girl (Katharine Hepburn) to read her the sheriff's warning sign of proclamation, thus her laughing it off and running away. Later the gypsy girl, Barbara, better known as Babbie, tricks the minister into sounding three blasts of the horn that, unknown to him, is to alert villagers of soldiers arriving to round up militant labor leaders. She also goes against the minister for his speaking out for peace by starting a riot against soldiers headed by Captain Halliwell (Reginald Denny), as well as passing herself off as the minister's wife to get past the head guard (Charles Coleman) ordered to have her arrested. Because Gavin is talked out of helping Doctor McQueen (Donald Crisp) from moving an old woman, Nanny (Mary Gordon), from her home and into the poor house, it is believed Gavin's involvement with Babbie, whose possible connection with Lord Rintoul (Frank Conroy), a member of nobility living with his sister, Evalina (Eily Malyon) in the castle on the hill, might disgrace him and lose his position as "The Little Minister."
Not as well known as Hepburn's frequently revived LITTLE WOMEN, THE LITTLE MINISTER, which had gone through several prior screen adaptations in the silent era, two alone in 1921, proved to be a logical choice for the role of Babbie. The casting of stage actor, John Beal, in his third movie performance, might have paved the way for a new and uprising actor on the rise, but while Beal did star and co-star in numerous films over the years, including another with Hepburn in BREAK OF HEARTS (1935), assuming a secondary role to Charles Boyer's leading man status, Beal, not so little for the title role, simply failed to win any iconic stature of a Clark Gable or Tyrone Power. Yet, of all his movies, THE LITTLE MINISTER is qualified to be his best solely because he's its central figure in a major 110 minute motion picture. Overall, it's Kate Hepburn or followers of James Barrie's work to be the sole reason for watching this screen adaptation today.
Others in the cast include Andy Clyde as Wearywood, the policeman who fails to get any respect and authority from the villagers; Lumsden Hare (Tammas Whammond); Dorothy Stickney (Jean); Harry Beresford (John Spens); and in smaller roles, Byron Foulger, E.E. Clive and Brandon Hurst. Aside from actors speaking with Scottish dialects, the feel of merry old Scotland is felt throughout with its scenery and frequent underscoring to traditional Scottish tunes.
Distributed to home video dating back to the 1980s, and much later onto DVD from Turner Home Entertainment, THE LITTLE MINISTER did have frequent cable television revivals over the years, such as American Movie Classics prior to 2001, and Turner Classic Movies. Let's hope someday TCM will show the completed THE LITTLE MINISTER by restoring its closing cast credits normally presented on other cable networks and VHS, as it did with other RKO Radio TCM titles of THE GAY Divorcée (1934), THE TOAST OF NEW YORK (1937) and CAREFREE (1938). (****)
Opening title: "The year is 1840 – Our story is laid in the little unweaving town of Thrums in Scotland at a period where life was still simple." The story opens with the Scottish villagers of Thrums awaiting for the arrival of the new minister. The minister, Gavin Dishart (John Beal) comes out of the carriage with his mother (Beryl Mercer) to meet with Mr. Carfrae (Herbert Bunston), the old minister now entering retirement, and settle into his home of many years at the nearby church. During his first sermon, Gavin earns respect from the congregation by standing up against the tough drunkard, Rob Dow (Alan Hale), whom he later guides to a better life against drinking and becoming a better father to his young son, Miscah (Billy Watson). Hearing someone singing on the Sabbath, Gavin goes to the woods to investigate, meeting with a gypsy girl (Katharine Hepburn) to read her the sheriff's warning sign of proclamation, thus her laughing it off and running away. Later the gypsy girl, Barbara, better known as Babbie, tricks the minister into sounding three blasts of the horn that, unknown to him, is to alert villagers of soldiers arriving to round up militant labor leaders. She also goes against the minister for his speaking out for peace by starting a riot against soldiers headed by Captain Halliwell (Reginald Denny), as well as passing herself off as the minister's wife to get past the head guard (Charles Coleman) ordered to have her arrested. Because Gavin is talked out of helping Doctor McQueen (Donald Crisp) from moving an old woman, Nanny (Mary Gordon), from her home and into the poor house, it is believed Gavin's involvement with Babbie, whose possible connection with Lord Rintoul (Frank Conroy), a member of nobility living with his sister, Evalina (Eily Malyon) in the castle on the hill, might disgrace him and lose his position as "The Little Minister."
Not as well known as Hepburn's frequently revived LITTLE WOMEN, THE LITTLE MINISTER, which had gone through several prior screen adaptations in the silent era, two alone in 1921, proved to be a logical choice for the role of Babbie. The casting of stage actor, John Beal, in his third movie performance, might have paved the way for a new and uprising actor on the rise, but while Beal did star and co-star in numerous films over the years, including another with Hepburn in BREAK OF HEARTS (1935), assuming a secondary role to Charles Boyer's leading man status, Beal, not so little for the title role, simply failed to win any iconic stature of a Clark Gable or Tyrone Power. Yet, of all his movies, THE LITTLE MINISTER is qualified to be his best solely because he's its central figure in a major 110 minute motion picture. Overall, it's Kate Hepburn or followers of James Barrie's work to be the sole reason for watching this screen adaptation today.
Others in the cast include Andy Clyde as Wearywood, the policeman who fails to get any respect and authority from the villagers; Lumsden Hare (Tammas Whammond); Dorothy Stickney (Jean); Harry Beresford (John Spens); and in smaller roles, Byron Foulger, E.E. Clive and Brandon Hurst. Aside from actors speaking with Scottish dialects, the feel of merry old Scotland is felt throughout with its scenery and frequent underscoring to traditional Scottish tunes.
Distributed to home video dating back to the 1980s, and much later onto DVD from Turner Home Entertainment, THE LITTLE MINISTER did have frequent cable television revivals over the years, such as American Movie Classics prior to 2001, and Turner Classic Movies. Let's hope someday TCM will show the completed THE LITTLE MINISTER by restoring its closing cast credits normally presented on other cable networks and VHS, as it did with other RKO Radio TCM titles of THE GAY Divorcée (1934), THE TOAST OF NEW YORK (1937) and CAREFREE (1938). (****)
Clever Katharine Hepburn
gkeith_117 May 2009
Warning: Spoilers
Spoilers. Observations. Opinions. Reflections.
Katharine Hepburn has two Scottish accents here; one for the gypsy and one for the cultured fiancé of Lord Rintoul.
The minister looks taller than I imagined, and not so little. Maybe he was less rotund than the other men.
I do like Kate's earlier films such as this one, which exist from when she was young, carefree and with no Spencer Tracy around.
Sweet movie. I first heard of it while studying the life of Maude Adams, famous Broadway actress who played the lead (Lady Babbie) on stage around 1897, to great success. Kate so clever in this film -- so beguiling as the gypsy girl who constantly torments the minister with her tempting and flirtatious ways. Hepburn so very gently floats through the scenes.
Gavin Dishart has such a devotion to his mother. Doesn't his mother have her own place to live? He's tied to her apron strings, plus the church ladies (men) cackle and watch his every move. He cannot tear himself away for a romance. Mother thinks the world revolves around Gavin. She lives in the parsonage with him, but all is changed when the church elders find out Gavin has been cavorting with that devilish gypsy woman. Mrs. Dishart knows she and Gavin will have to leave the house when all of this comes to a head.
I thought that in the original story Lady Babbie is the daughter of a wealthy, titled family, and that the gypsy outfit was just a disguise getup. Apparently she has lots of free time to join a political group, disguising herself as a commoner and attracting the attention of the naive minister.
10/10.
Katharine Hepburn has two Scottish accents here; one for the gypsy and one for the cultured fiancé of Lord Rintoul.
The minister looks taller than I imagined, and not so little. Maybe he was less rotund than the other men.
I do like Kate's earlier films such as this one, which exist from when she was young, carefree and with no Spencer Tracy around.
Sweet movie. I first heard of it while studying the life of Maude Adams, famous Broadway actress who played the lead (Lady Babbie) on stage around 1897, to great success. Kate so clever in this film -- so beguiling as the gypsy girl who constantly torments the minister with her tempting and flirtatious ways. Hepburn so very gently floats through the scenes.
Gavin Dishart has such a devotion to his mother. Doesn't his mother have her own place to live? He's tied to her apron strings, plus the church ladies (men) cackle and watch his every move. He cannot tear himself away for a romance. Mother thinks the world revolves around Gavin. She lives in the parsonage with him, but all is changed when the church elders find out Gavin has been cavorting with that devilish gypsy woman. Mrs. Dishart knows she and Gavin will have to leave the house when all of this comes to a head.
I thought that in the original story Lady Babbie is the daughter of a wealthy, titled family, and that the gypsy outfit was just a disguise getup. Apparently she has lots of free time to join a political group, disguising herself as a commoner and attracting the attention of the naive minister.
10/10.
One for Hepburn's legion of fans!
JohnHowardReid27 September 2016
Warning: Spoilers
This is a very clever adaptation of James M. Barrie's four-act play. Some of the incidents that are only described on stage (Dow's being subdued on the minister's first day of preaching; the minister trying to put down a riot, and the gypsy girl trying to incite a riot) are brought dramatically and vividly to life, while many of the memorable incidents that we do see on stage are beautifully and movingly captured on film (e.g. Babbie's encounter with Micah Dow and her impersonation of "Mrs. Dishart"). On the other hand, the screenplay makes a great number of changes to the plot and the characters. This will doubtless upset some people, but I thought the changes were an improvement. Andy Clyde makes a delightful study of his provincial policeman. Hepburn gives a most engaging performance and her motives are less mischievously wanton than they are in the stage play. She is also superlatively photographed and attractively costumed. Aside from John Beal, who lacks Hepburn's magnetism and appeal, the support cast is excellent. Mary Gordon, for example, has a role right up her street. On the other hand, Richard Wallace's direction is a bit rough and ready, and the final scenes are paced too slowly, but in other respects, production values are first-class and the movie has a marvelous sense of place and period.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
