28/7/2011 6:31 pm  #1


My First Viewing of "Little Boy Lost," a persopnal response.

I am still a bit stunned, the film having concluded moments ago.  I had read a bit about it a few times before, but did not realize how powerful of an effect it would have.  In its dramatic weight it reminds me somewhat of "The Country Girl," this partly also because Bing's character is not altogether sympathetic at times.

I was born in the year before this movie was released, more or less during the present time of the second half of the action.  It was a time when Europe's continuing recovery from WWII was not exactly center stage in the minds of average Americans, not enough that a youngster here would have noticed adults around him or her being very mindful of it.  The war itself, in the decade following this movie's release, was mostly the subject of war-time adventure movies starring John Wayne, Van Johnson, Audie Murphy, and others, and the aftermath of the war in movies, with few exceptions, was more like "White Christmas."  My uncles and my father, all in the service during the war, didn't talk much about it.  A friend's father who served in the Marines in the Pacific pointedly refused to answer any of his son's questions about his time in the war, beyond that he found some lifelong friends who then lived in Austrailia.  And we had no bombed out ruins in Illinois as reminders.  What a surprise when I watched Winston Churchill's funeral on TV when I was in grade school to learn that some buildings in London had yet to be rebuilt as late as then.

When I was growing up, there must have been children around me who lost fathers in the war, but I don't recall this ever being spoken about. I recall families stricken by accidents and disease, divorce or even job loss, but not by the aftermath of WWII.  Many unpleasant things were not spoken about, at least in front of children in those days -- "Little pitchers have big ears," my father would say and the subject of the adult conversation would change.  Being rather confused, I thought he was talking about baseball.  Of course, were I a child growing up in Europe or Britain at that very time, even if adults chose not to talk very much about the war, I still very likely might have seen some unignorable evidence of the war's violence to my town and the surrounding landscape.  I might have known of war orphans in my town.

All of this makes me wonder what this kind reception this film might have had in American theaters, at a time when we here spoke little of that war anymore and called our involvement in Korea a "police action."  Would movie-goers want to see our jaunty Bing Crosby living half in the past and half-tortured with the question of whether a somewhat odd and uncoordinated French orphan might actually be his son rather than someone elses?  And, in the subsequent years, would such a movie be high on the list of those TV stations would replay in their program schedules (I don't remember seing it on TV)?  While it is intensely the story of a war-broken family, representative of countless others, it might not have been regarded in 1950s and 60s America as "family entertainment."  Perhaps others know much more than I about how well the film was greeted in the US and elsewhere.

Regarding the structure of the film, it is a story that spans several years, both for the characters involved and for international history.  How to condense time and connect scenes scattered over a long period is a challenge for filmmakers.  I wonder if there is any other film of Bing Crosby's in which he speaks anywhere near so many lines of narration.  Could not action have been used to dramatize more, doing without so much exposition, one might certainly wonder as the film progresses.  Yet, the pattern of Bing's character narrating makes it possible for him to speak his misgivings directly to the audience after his first meeting of the boy and the crusty Mother Superior who ran the orphanage in the film's second half.  I'm not sure how we could have learned that so well otherwise.

Then, too, much of his misgivings are dramatized, as with his physical distance from the boy much of the time at the start of their first walk together, partly because he was counseled not to be too emotional by the old nun, but likely also the result of his doubts.  The character of the old nun is quite fascinating, partly because she ultimately reveals two characters: the stern one administering the orphanage somewhat dispassionately, and then, toward the very end, a deeply caring protector of the children -- a war veteran certainly herself -- and a powerfully committed advocate for their having a future.   What an interesting contrast this movie seems to make when compared with "Bells of St. Mary's," not only because the latter is more obviously a heart-warming movie throughout, but also because there is no Father O'Malley in this religious establishment ... unless there is a small touch of his street-wise insight and optimism in the old nun running the orphanage.

It was so, so  long after the brief scene in which Bing sang at a party with Lisa, his wife-to-be whom he had just met, in the beginning of the film, before he sang again in this movie that I stopped expecting him to sing more.  Then eventually I began to think, when a few more songs finally occurred rather naturally in later scenes, that these songs had to be there.  What an intensely sad and troubling movie it might have been if not for those few songs slipping in during the second half.

That several people proceed (in inevitably conflicting ways) to try to help the boy and Bing unite as a family, and in doing so succeed more in complicating Bing's character's decision about whether he is his son and whether or not to take him in any case, certainly frustrates a viewer's expectations for how things might work out for the good.  That near the end of the film, Bing and his old French friend from before the war reach what may be a breaking point in their friendship, because the friend insists Bing accept Lisa's violent death during the war, place's Bing's character in an even more troubled and psycologically ALONE position as he prepares to leave the town where the orphanage is located to return to Paris.  He is saying this is to take time to come to a decision about the boy, but his secret agreement to travel with a blonde flusey promising to help him forget for a few days, creates another situation in which we not only must begin to agree with his old friend that he is self-delusional, but we also don't like him very much.

We don't like him (or is it his human frailty and self-doubt) until his own concience, triggered by a trainwhistle and a memory, makes him return to the orphanage, to discover that the boy (Jean /John) has recognized something from the past that no one could have prompted him about.  I admit, I couldn't help misting up.

In one neighborhood where a I grew up a friend's mom, I learned, was a "war bride" from Italy. Maria was a very sweet lady, who my mother liked very much.  If she had a sad tale to tell about her town during or after the war, I never heard of it.  She was just Mickey's mom.  In school, I read of the Marshall Plan, our helping Europe rebuild, but I don't think those paragraphs mentioned orphans or that the rebuilding was still going on.  But in high school I had a teacher who had been about my age when his city of Stettin, Poland, was traded among armies during and just after WWII.  His first library, in the basement of a bombed-out building, consisted of books he had collected from the rubble of his city at age fifteen.  A college teacher I had years later, had grown up in utter poverty with her mother in a European town very slow to recover from that war.

Perhaps it is that "Little Boy Lost" is wholly set in France, and briefly Britain, without hardly any mention of life in the USA, that causes me to continually revisit what I knew (and when I knew it) about that setting, particularly Europe after the war.  There is actually far less mention of life in America in this film than there is in "Casablanca."  Mentionings of happy neighborhoods back in the old USA pepper nearly every war movie I can remember, but not this one.  In this film, while we suspect Bing's character will return to his home country eventually, with his son if he determines he has found him, America is not held out as some dream place where they will live happily ever after, as is the case in more than a few American war movies.  The film keeps us far too deeply worried about whether he will identify who he and his son are and what his true dream and future are, and whether that will include the boy.  A peaceful and happy America isn't employed as shorthand for the solution in this film.  As the old nun clarifies the question of whether Bing's character and the boy need each other in order to both find their futures is the key issue.  And to her, the boy is one of many whose welfare and futures keep her awake at night.  While the film lets this one family mend, we acknowlege gratefully, I don't think it means to let us forget that this orphan and his father are but representatives of many.  That is a much more serious dose of reality than many people might expect from a Bing Crosby movie, or an American musical movie of its time.

*** I have left out any mention of several aspects of the plot which other viewers may have found significant.  And I am sure many Crosby fans know far more than I do about its contexts in history and in film history.  I hope others will contribute their perpectives.  I am especially interested in how others respond to in this film, particularly if they differ from my responses.

(Sorry for the typo in the thread title.  I just noticed it and that I can't still edit it.)

Last edited by Steve Fay (28/7/2011 7:22 pm)

 

28/7/2011 9:20 pm  #2


Re: My First Viewing of "Little Boy Lost," a persopnal response.

The ending never fails to move me to tears.

 

29/7/2011 2:47 am  #3


Re: My First Viewing of "Little Boy Lost," a persopnal response.

Malcolm Macfarlane wrote:

The ending never fails to move me to tears.

I've watched it now a second time, and it did it again.  I think part of it is that, despite moments of hope (some of which prove to be false) the connection between Bing's Character, Bill Wainwright, and the boy, Jean, is so tenuous and then finally looks very likely to faiil so near the end of the movie.  That Bill returns to the orphanage ready to claim the boy without knowing for sure if he is his son, at the very time the boy has a genuine memory proving he is his son --- well, it's quite a one-two punch to the viewer's heart.

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29/7/2011 11:57 am  #4


Re: My First Viewing of "Little Boy Lost," a persopnal response.

Steve

You have captured the feel of the film very well. A bit of a new departure for Bing - out with the old with the light banter and asides, the fluffy storylines and the knockabouts with Bob, in with a more considered, mature and moving storyline. A deft re-working of the cliffhanger - will they won't they (be rescued/meet again/make it up/find the right partners) transposed to the question of the boy's identity, and then placed on a piece of elastic that keeps on snapping away. And of course followed a year later by 'The Country Girl'.
A film not all that frequently shown, and I don't  think currently available on DVD (though beware, there seems to be another of the same name). It should be available (perhaps with a pack of tissues).

 

29/7/2011 12:06 pm  #5


Re: My First Viewing of "Little Boy Lost," a persopnal response.

LITTLE BOY LOST is my personally favourite dramatic Crosby movie, like it more than BELLS OF SAINT MARY, MAN ON FIRE, STAGECOACH, DR COOKS GARDEN and even THE COUNTRY GIRL. The last one and LITTLE BOY LOST have the same director: George Seaton! I was banned from Bing´s expression and power to act, mostly  in a quiet and thougtful, but also torn way. The screenplay based on a fine book from Marganhita Laski, which sold the rights first to actor John Mills. Seaton changed the character from a British intellectual to an American singer. Laski was unhappy about that, but later said, that Bing done an admirable job.
The narrations made the scenes even stronger and total personally from the view of Bill Wainwright alias Bing. It is every time the look of Bill. I can´t remember such thing on any other of Crosby´s films, not on COUNTRY GIRL, not on MAN ON FIRE or HERE COMES THE GROOM (another orphans story) which were told, but here tells Bill/ Bing himself. Christian Fourcade as Jean was the ideal counterpart for Bing and this kind of story. Gabrielly Dorziat was really superior Mother Superior, lovely also Nicole Maurey as Lisa Garret (again with Bing in HIGH TIME)
Another fact is, that this film was made in an extemely difficult period of Bing´s life, between September 1952 and February 1953 (re-filming one scene in May 1953 in Paris). Dixie Lee was very ill as he is travelling with ship to Europe in 1952 and  died later this year. Bing thought much about his life and certainly the errors he have made. He get into a life crisis, not known to him. That are the circumstances of the time, when filming LITTLE BOY LOST. That wasn´t good for Bing, but it makes Bing in the film so believable or authentic.
Also no song of the movie is a hitsong I like CELA MÈST EGAL and THE MAGIC WINDOWS really. I have ever believed, that MAGIC WINDOW could have been an inspiration for Johnny Mercers great ballad MOON RIVER written for BREAKFEAST AT TIFFANY.
LITTLE BOY LOST made certainly Bing´s love for France and french chansons even bigger. Bing produced not only some of his weekly radio shows in Paris, but recorded too in France his first ,,original" 10 inch LP ,,LE BING". there.
This Crosby film is much underrated in my mind. I have viewed it at least ten times completly.
Dieter.

Last edited by Dieter (29/7/2011 12:18 pm)

 

29/7/2011 2:56 pm  #6


Re: My First Viewing of "Little Boy Lost," a persopnal response.

Richard, "a piece of elastic that keeps on snapping away" is an excellent metaphor for the emotional state the viewer observes and traces in his or her own responses.

Dieter, thank you very much for your interesting post.  I have yet to see "Man on Fire" and "Dr. Cook's Garden."  If "Bells of St. Mary's" is a particular favorite of mine, it has much to do with the contrasts and interactions between Bing and Ingrid Bergman that other films can't offer, but I could not rank it among serious dramas like this one.

You write, "...John Mills. Seaton changed the character from a British intellectual to an American singer," but wouldn't you say it is more accurate to say that the casting was of an American singer, but the character was changed from a British intellectual to an American radio news broadcaster?  Bing's character sings at a party when he is admittedly a bit tipsy and then after that only in intimate situations with a child or friends --- the sort of times when people who never even dream of competing in talent contests sing in real life.  I think if you told someone to expect a Bing Crosby musical and then showed this film, the person would claim to have been misled.

I also agree that the actors playing the nun and boy are excellent!  I wondered a bit about another of the boys in Jean's classroom at the orphanage, the one in whom Bill Wainright first seems to see a clear resemblance to himself.  ***Could that have been a cameo appearance by Lindsay Crosby, who was in France with Bing during this period and singing regularly (in French) on Bing's radio show which was transplanted to France during the time he made this movie and recorded the  "Le Bing" album?  Bookbinder's volume about Bing's movies doesn't mention a Lindsay cameo, but that kid sure looks like a real Crosby boy.

Last edited by Steve Fay (29/7/2011 3:03 pm)

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29/7/2011 6:08 pm  #7


Re: My First Viewing of "Little Boy Lost," a persopnal response.

Dieter wrote:

Bing produced not only some of his weekly radio shows in Paris
Dieter.

Dieter, I think it is now quite well established that all - or perhaps nearly all - of the content of the radio shows apparently transcribed in France were in fact recorded in a few marathon sessions during February and March before Bing's departure from the U.S.  This is a quote from the notes I have inserted in my on line discography relating to the sequence of radio programmes starting with GEC no. 33:- 

This programme and the next six are all introduced as being transcribed in Paris, France.

Lionel Pairpoint long ago drew attention to the possible problems in taking this at face value - the entire crew, which he lists as John Scott Trotter plus orchestra, Ken Carpenter, Joe Venuti, Buddy Cole, Bill Morrow and Murdo MacKenzie, plus a number of others, many of whom presumably had other commitments, would have had to accompany Bing.

Bing commenced his trip to Europe in March, with son, Lindsay and returned in June.

In fact it was confirmed in 2011 with the issue of a series of recordings by the Crosby estate, that all of the musical items at least were made in an extended series of recording sessions during February and March 1953 in Palm Springs.

Why the deception? - I can only suppose that the radio network, or the sponsors, still wished to give some sort of air of immediacy, and not admit to the fact that much material had been "put in the can" to be pulled out while Bing was on holiday. It is possible that some verbal linkage from Bing might have been recorded in Paris which might at least partly justify the phrase "transcribed in Paris"

 

29/7/2011 6:17 pm  #8


Re: My First Viewing of "Little Boy Lost," a persopnal response.

Richard Baker wrote:

Dieter, I think it is now quite well established that all - or perhaps nearly all - of the content of the radio shows apparently transcribed in France were in fact recorded in a few marathon sessions during February and March before Bing's departure from the U.S.

I seem to recall from the "French" radio shows I have listened to that there are segments when Bing and Lindsay talk about travels they have taken in France between some of the shows.  If it is all deception, they certainly went to a great deal of effort to pull it off -- unless those segments were what you called "linkage" possibly recorded in France.

Last edited by Steve Fay (29/7/2011 6:19 pm)

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29/7/2011 6:49 pm  #9


Re: My First Viewing of "Little Boy Lost," a persopnal response.

Steve Fay wrote:

If it is all deception, they certainly went to a great deal of effort to pull it off -- unless those segments were what you called "linkage" possibly recorded in France.

Possibly 'deception' is too strong. It was still comparatively recently that the radio networks had been persuaded away from 'live' shows. But Bing was and remained ahead of the game - By this time quite a proportion of the shows were assembled from songs recorded at different times with superimposed linkage. That process developed and became normal  after the end of the General Electric series, but was already well in evidence by 1953.  But to some degree it was necessary to preserve the myth of immediacy. Whether some or all the linkage was recorded in advance in Palm Springs or later in France I certainly cannot guess, but either seems a possibility. Might Bing have taken a good quality tape recorder etc. with him or strolled into the Radio France studios in Paris by arrangement?  I don't know. But is is certain that the musical items were recorded mainly in Palm Springs.

 

29/7/2011 7:12 pm  #10


Re: My First Viewing of "Little Boy Lost," a persopnal response.

Hello Steve, I have expressed it wrong to say, that Bill/ Bing was an American singer. He played a newscaster from America in Paris. This was 1938, Bill was reporting about Germans occupiing of Czechosslowakia. I only ever wondered, why Bill was at that scene in uniform. At that time the USA hasn´t declared war to Germany.
Lindsay was much to old for that cameo. Look photos from that period. One photo of Bing and Lindsay in Europe is pictured in the newest BING magazine, page 53. This was photographed in Delft, Netherlands.
Thanks Richard for your "new" information. I must sorry, that I have only the wrong facts from older literature.
But John Scott Trotter was on the Europe trip in 1953. I have not only the photo from Delft, but also one from Paris. Bing, Lindsay and John Scott standing before a Mercedes 300 "Adenauer" limousine.
Thanks for all your responses and corrections, Steve and Richard. - Dieter.

Last edited by Dieter (29/7/2011 7:15 pm)

 

29/7/2011 11:42 pm  #11


Re: My First Viewing of "Little Boy Lost," a persopnal response.

Dieter wrote:

But John Scott Trotter was on the Europe trip in 1953. I have not only the photo from Delft, but also one from Paris. Bing, Lindsay and John Scott standing before a Mercedes 300 "Adenauer" limousine.
Thanks for all your responses and corrections, Steve and Richard. - Dieter.

Dieter,

You are correct. Bing appeared in a radio show singing 'Dear Hearts and Gentle People' recorded on May 14th  for BBC from Paris with John Scott Trotter on piano for ‘Star Spangled Salute’ which was broadcast on June 4th.  Possibly a visit he was making for a short time coincided with Bing being in Paris and they joined forces. But there is no doubt about the recording dates for the bulk of the musical items included in the shows purportedly transcribed in Paris for General Electric. And all the other pictures and copies of news coverage I have seen of Bing at the time were of Bing and Lindsay (arriving, departing, seeing the sights of Paris. etc). None of Bing plus enormous entourage lining up for pictures which was what was typical of, for example, a touring band at the time.

 

01/8/2011 3:23 am  #12


Re: My First Viewing of "Little Boy Lost," a persopnal response.

Dieter wrote:

Hello Steve, I have expressed it wrong to say, that Bill/ Bing was an American singer. He played a newscaster from America in Paris. This was 1938, Bill was reporting about Germans occupiing of Czechosslowakia. I only ever wondered, why Bill was at that scene in uniform. At that time the USA hasn´t declared war to Germany.

Dieter, I believe, according to my recollection of the film, Bill (Bing) is required to wear a military-like uniform with a patch on the shoulder that identifies him as a "Correspondent" very soon after it is learned that the German army had invaded Holland.  Apparently, France was going on a war footing beginning at that moment.  He seemed to still be getting his orders from his news network, rather than a military officer, but if he were to come close to battle, as he did at Dunkirk, it would have made a lot of sense for him to have some kind of official identification, as would medical personel in a war zone.

Yes, this is years before the US becomes involved militarily in WWII.  The US was not eager to go to war.  It took a lot of persuasion on the part of FDR to estabilsh the "Lend-Lease" program that made it possible to send military and humanitarian supplies to Britain, while maintaining some slight appearance of neutrality in the war. 

Because much news about the war was getting to the US, there probably were some Americans who left home to enlist in the British army, before Dec. 1942. It would have been hard for them to have elisted in the French army, since it surrendered so early. There was a famous squadron of American fliers who flew for the French in the first world war:  the Lafayette Escadrille.

Richard, I saw that photo in the new Bing of Linny.  Yes, he was far to old for that part. Somehow they found a little boy for the film that looked like he could have blended into a group of Crosby boys of that age.

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