Margaret O'Brien Movies

This wartime weeper could just as well have been titled Stardom for Margaret, inasmuch as it solidified the popularity of that remarkable child actress Margaret O'Brien. While visiting London, American married couple Robert Young and Laraine Day are caught in the middle of the 1940 blitz. Losing her unborn child during the bombing, Day sadly heads back to the U.S., while her journalist husband stays behind to cover late-breaking events. Young makes the acquaintance of O'Brien and Clifford Severn, children orphaned by the blitz. After pulling the shell-shocked O'Brien out of her near-catatonic state, Young decides to adopt both children and take them back to his wife in the States. There are some tense moments as Young tilts at the stepped-up immigration restrictions, but he is finally able to bring his new family home. Journey for Margaret stars Robert Young and Margaret O'Brien would be reunited two decades later on an episode of Young's TV series Marcus Welby MD, in which Ms. O'Brien played a patient suffering from obesity. ~ Hal Erickson, Rovi

The third of MGM's Dr. Kildare series to dispense with the services of Dr. Kildare (Lew Ayres), Dr. Gillespie's Criminal Case stars crusty old Lionel Barrymore in the title role. The first half of the film concerns Gillespie's efforts to expedite the romance of Army sergeant Orisin (Michael Duane) and Marcia Bradburn (Donna Reed), with the help of doctors Red Adams (Van Johnson) and Lee Wong How (Keye Luke). The closing reels lapse into melodrama when Gillespie is kidnapped by mentally unstable convict patient Roy Todwell (John Craven) and his gang. In addition to new MGM contractees Van Johnson and Donna Reed, Dr. Gillespie's Criminal Case gave a boost to young star-in-the-making Margaret O'Brien. Like most of the later films in the series, this one is hampered a bit by its excessive length. ~ Hal Erickson, Rovi

Storywise, Thousands Cheer is thin stuff indeed. Insouciant PFC Eddy Marsh (Gene Kelly) wants to put on a Big Show for his fellow serviceman. Along the way, Eddy falls in love with Kathryn Jones (Kathryn Grayson), the daughter of Colonel William Jones (John Boles). End of story. The principal selling angle of Thousands Cheer is the presence in the cast of virtually every musical talent on the MGM payroll: Mickey Rooney, Judy Garland, Red Skelton, Eleanor Powell, Jose Iturbi, the Kay Kyser Orchestra, Bob Crosby and his Bobcats, the Benny Carter band, Ann Sothern, Lucille Ball, June Allyson, Gloria DeHaven?..the list goes on and on and on. Since Thousands Cheer was designed as a patriotic wartime morale-booster, it is indeed ironic that the film was written by Paul Jarrico and Richard Collins, both of whom would be blacklisted during the Red-baiting 1950s. ~ Hal Erickson, Rovi

Director Robert Stevenson collaborated with novelist Aldous Huxley and theatrical-producer John Houseman on the screenplay for this 1944 adaptation of Charlotte Bronte's gothic romance Jane Eyre. After several harrowing years in an orphanage, where she was placed by a supercilious relative for exhibiting the forbidden trait of "willfulness," Jane Eyre (Joan Fontaine) secures work as a governess. Her little charge, French-accented Adele (Margaret O'Brien), is pleasant enough. But Jane's employer, the brooding, tormented Edward Rochester (Orson Welles), terrifies the prim young governess. Under Jane's gentle influence, Rochester drops his forbidding veneer, going so far as to propose marriage to Jane. But they are forbidden connubial happiness when it is revealed that Rochester is still married to a gibbering lunatic whom he is forced to keep locked in his attic. Rochester reluctantly sends Jane away, but she returns, only to find that the insane wife has burned down the mansion and rendered Rochester sightless. In the tradition of Victorian romances, this purges Rochester of any previous sins, making him a worthy mate for the loving Jane. The presence of Orson Welles in the cast (he receives top billing), coupled with the dark, Germanic style of the direction and photography, has led some impressionable cineasts to conclude that Welles, and not Stevenson, was the director. To be sure, Welles contributed ideas throughout the filming; also, the script was heavily influenced by the Mercury Theater on the Air radio version of Jane Eyre, on which Welles, John Houseman and musical director Bernard Herrmann all collaborated. But Jane Eyre was made at 20th Century-Fox, a studio disinclined to promote the auteur theory; like most Fox productions, this is a work by committee rather than the product of one man. This in no way detracts from the overall excellence of the film; of all adaptations of Jane Eyre (it had previously been filmed in 1913, 1915 and 1921, and has been remade several times since), this 1943 version is one of the best. Keep an eye out for an uncredited Elizabeth Taylor as the consumptive orphanage friend of young Jane Eyre (played as child by Peggy Ann Gardner). ~ Hal Erickson, Rovi

Sally Benson's short stories about the turn-of-the-century Smith family of St. Louis were tackled by a battalion of MGM screenwriters, who hoped to find a throughline to connect the anecdotal tales. After several false starts (one of which proposed that the eldest Smith daughter be kidnapped and held for ransom), the result was the charming valentine-card musical Meet Me in St. Louis. The plot hinges on the possibility that Alonzo Smith (Leon Ames), the family's banker father, might uproot the Smiths to New York, scuttling his daughter Esther (Judy Garland)'s romance with boy-next-door John Truett (Tom Drake) and causing similar emotional trauma for the rest of the household. In a cast that includes Mary Astor as Ames' wife, Lucille Bremer as another Ames daughter, and Marjorie Main as the housekeeper, the most fascinating character is played by 6-year-old Margaret O'Brien. As kid sister Tootie, O'Brien seems morbidly obsessed with death and murder, burying her dolls, "killing" a neighbor at Halloween (she throws flour in the flustered man's face on a dare), and maniacally bludgeoning her snowmen when Papa announces his plans to move to New York. Margaret O'Brien won a special Oscar for her remarkable performance, prompting Lionel Barrymore to grumble "Two hundred years ago, she would have been burned at the stake!" The songs are a heady combination of period tunes and newly minted numbers by Ralph Blane and Hugh Martin, the best of which are The Boy Next Door, The Trolley Song, and Have Yourself a Merry Little Christmas. As a bonus, Meet Me in St. Louis is lensed in rich Technicolor, shown to best advantage in the climactic scenes at the St. Louis World's Fair of 1904. ~ Hal Erickson, Rovi

An earnest rural melodrama set among Norwegian immigrants in Wisconsin, Our Vines Have Tender Grapes is a slightly updated version of George Victor Martin's 1940 novel. Edward G. Robinson stars as Martinius Jacobson, a farmer devoted to his wife Bruna (Agnes Moorehead) and precocious seven-year-old daughter Selma (Margaret O'Brien), whom he lovingly calls "Jente Mi." Along with her freckle-faced five-year-old cousin, Arnold (Jackie "Butch" Jenkins), Selma lives a carefree, joyous life, which is only temporarily clouded by the sudden death of Ingeborg Jensen (Dorothy Morris), an emotionally disturbed young women whose stern father (Charles Middleton) had refused to let her attend school despite the pleas of newly arrived schoolmarm Viola Johnson (Frances Gifford). The latter is quietly falling in love with Nels Halvorson (James Craig), the town newspaper editor, but cannot envision herself as a rural wife. She changes her mind when, inspired by young Selma, the entire town of Fuller Junction come to the aid of Bjorn Bjornson (Morris Carnovsky), who has lost his livestock when lightning struck a newly erected barn. When Selma generously donates her pet calf to the impoverished farmer, the townspeople in general, and Martinius in particular, follow suit, prompting Viola to reconsider her harsh views of country life and retract her letter of resignation to the school board. ~ Hans J. Wollstein, Rovi

Even if the film had been released without opening and closing titles, it wouldn't have been hard to identify Three Wise Fools as an MGM production. Margaret O'Brien stars as Sheila O'Monhan, a wide-eyed Irish colleen who insists that she sees leprechauns (as, indeed, does the audience). She enters the lives of three dour, crusty old gentlemen: Dr. Richard Gaunght (Lionel Barrymore), Judge Thomas Trumbull (Lewis Stone), and industrialist Theodore Finley (Edward Arnold). Thanks to a curse imposed upon them by Sheila's grandfather, the three men have all found success at the expense of personal happiness. But there's still a chance for their salvation, and that chance manifests itself in an old tree which Sheila believes is the home of the leprechauns. The finale finds Gaunght, won over by Sheila's childish faith in The Unexplained, chaining himself to the tree to avoid its removal by Finley and Trumbull. Anyone who can't guess how this little bit of blarney turns out should have his or her film-buff card revoked. ~ Hal Erickson, Rovi

Filmed in 1946, Tenth Avenue Angel is yet another treacly vehicle for little Margaret O'Brien. The juvenile star is cast as Flavia Mills, an 8-year-old tenement dweller who insinuates herself into the lives of several down-and-outers, among them ex-convict Steve Abbott (George Murphy). Flavia's well-intentioned efforts to help Steve go straight, and to promote the blossoming romance between Steve and Susan Bratten (Angela Lansbury), are destined to hit several emotional roadblocks before the "End" title. Disillusioned by the contradictory behavior of her adult friends, Flavia eventually learns not to give up on the human race just because of a few setbacks. The Harry Ruskin/Eleanor Griffin screenplay was based on a story by Angna Enders, which in turn was based on a vaudeville sketch by veteran mystery writer Craig Rice. ~ Hal Erickson, Rovi

The oft-filmed Frances Hodgson Burnett novel The Secret Garden was given the usual plush MGM treatment in 1949. Tempestuous orphan girl Mary Lennox (Margaret O'Brien) is sent to live with her reclusive, long-widowed uncle Archibald Craven (Herbert Marshall). The embittered Craven has an invalid son named Colin (Dean Stockwell), with whom the troublesome Mary constantly clashes. Her only real friend is neighbor-boy Dickon (Brian Roper). Things soon change after Mary discovers the key to the Craven household's garden, which has been locked up and neglected since the death of Craven's wife. Through the influence of the Secret Garden, Mary learns to think of others rather than herself, Craven drops his curmudgeonly veneer, and Colin's health slowly but steadily improves. In the tradition of The Wizard of Oz, the sequences taking place in the Secret Garden are lensed in Technicolor. ~ Hal Erickson, Rovi

Former child star Margaret O'Brien is Betty Foster, the "all growed up" heroine of Her First Romance. Hoping to rendezvous with handsome teenager Bobby Evans (Allen Martin Jr.) at a fancy summer camp, Betty bamboozles her parents into sending her there. Once she's arrived, Betty proves her devotion to Bobby by committing a robbery on his behalf. She reasons that since she's robbing her own father's safe, her crime is none too serious. Boy, is she wrong! A curious blend of comedy, melodrama and sentiment, Her First Romance failed to establish Margaret O'Brien as an adult box-office favorite, though the film itself is easy to take. Featured in the cast are Jimmy Hunt, of Invaders from Mars fame, and future TV-series perennial Elinor Donahue. Margaret O'Brien's parents are played by Ann Doran and Arthur Space, who'd later be reteamed on the weekly TVer National Velvet. ~ Hal Erickson, Rovi

Producer-director David Butler once listed Glory as among his favorite films. Margaret O'Brien plays her first grown-up role as the owner of the eponymous racing filly. Despite the fact that the horse seems to be a dud, Margaret insists upon entering Glory in race after race. This proves financially draining to Margaret and her grandmother Charlotte Greenwood, but Walter Brennan, trainer for handsome horse breeder John Lupton, helps to raise the necessary funds to enter Glory in--what else?--the Kentucky Derby. The inevitable romance between Margaret and Lupton is less interesting than the combative (but basically affectionate) relationship between ageing ex-sweethearts Greenwood and Brennan. With the uncredited aid of Lawrence Welk Show costar Norma Zimmer, Margaret O'Brien warbles three songs. ~ Hal Erickson, Rovi

Thanks to the curbstone advice of Perry Mason (Raymond Burr), Sarah Breel (Lurene Tuttle) is cleared of a shoplifting charge. Not long afterward, Sarah's niece Virginia (played by former child star Margaret O'Brien) tells Perry that she believes her aunt is involved in a jewel robbery--or at the very least, is covering for her no-good brother George. When George's partner Austin Cullins (Blair Davies) is murdered, Sarah is found near the scene of the crime with the murder weapon and a cache of jewels in her purse. Naturally, Perry agrees to handle Sarah's defense--a job that becomes doubly difficult when dear brother George turns up murdered as well. Keep at eye out for a pre-"Mr. Spock" Leonard Nimoy in a supporting role. This episode is based on a 1938 novel by Perry Mason creator Erle Stanley Gardner. ~ Hal Erickson, Rovi