bad girls like me can’t pray
by Douglas Messerli
William Lipman, Sam Hellman, Gladys
Lehman (screenplay, based on a story by Damon Runyon), Alexander Hall
(director) Little Miss Marker / 1934
As in Lady for a Day and Pocketful
of Miracles, the Damon Runyon story on which Little Miss Marker was based centers around a bookie, a showgirl,
and the various thugs and roughs associated with the New York betting
gangsters. In this case, however, the central character, Sorrowful Jones
(Adolphe Menjou) is simply a bookie, instead of the head boss. The showgirl,
Bangles Carson (Dorothy Dell), is also a much tougher doll whose relationship
to the head man, Big Steve Halloway (Charles Bickford) is more that of a kept
woman as opposed to the hardworking singer-dancer, Queenie-Missouri Martin, in
Capra’s films.
It hardly matters since the characters they play are so similar, the two
leads, Sorrowful and Bangles, acting out a bickering relationship destined for
the marriage altar. In this case, however, there is a third woman, the
appealing child, Marthy Jane (Shirley Temple), left by a desperate gambling
father as a marker for his bet on Dream Prince, a losing horse.
Once Marthy (immediately dubbed “Little Miss Marker”) enters the scene,
one can feel a dense layer of sugar coat the teeth. Fortunately, the writers,
Lipman, Hellman, and Lehman, along with director Hall, whipped up a story that
when faced head-on tastes more like a jigger of gin thrown down the gullet. For
despite the cuteness of this human marker,
as Marthy cajoles, scolds, and cries in her struggle for the affections of
Sorrowful, all else is delightedly perverse. We might start by examining why
the stingy Sorrowful has taken her as a marker in the first place, particularly
given his natural curmudgeonly contrariness. It is clear from the moment that
he lifts her into his arms, ostensibly in an attempt to hand her back to her
father, that he is as smitten with her as if she were a dame of his own age.
Sorrowful quickly assigns her to the care of his two comic stooges, Sore Toe
and Canvas Back, who remind us also of the two dumb brothers in Lady for a Day. Their hilarious
interpretation of Sorrowful’s instruction to “mind” her ends in their retrieval
of a barber shop sign (which she perceives as a gigantic peppermint) and result
in her temporary loss.
When her father does not return to collect—we soon discover that he has
killed himself— she is found again, this time by a young Black janitor, and
returned to Sorrowful at Holloway’s club just a Bangles is warbling out a song
of painful feminine woe. So begins a relationship of the young girl with
Sorrowful that on the surface may seem utterly cuddly and charming, ending in a
complete alteration of his life, but just out of the radar of the common viewer
is a tale of abduction and child endangerment that might almost be read as
pedophile’s fairytale—the last word being one that is repeated throughout.*
Quickly removing the big boss, Halloway, from the scene, writers and
director hunker down to focus on the catfight between women, old and young, for
Sorrowful’s heart. Marthy has the advantage: she’s cute and sweet and, as
everyone knows, no adult actor on screen can match the appeal of a child or
puppy. And who could resist Temple’s tearful pleading:
Sorrowful: What’s
the matter now?
Marker: You don’t
like me!
Sorrowful: You
always cry when somebody doesn’t
like you?
Marker: Yes!
Sorrowful: Well, you
got a lot of crying to do. Now go to
sleep.
Marker: My mommy
used to read to me about King Arthur
every
night before I went to sleep.
Sorrowful: Now,
Marky, be reasonable.
Marker: I won’t!
Sorrowful: All
right, all right.
Obviously, she wins the fight and with it his heart. At the other end of
the spectrum is Bangles, secretly in love with Sorrowful as well:
Bangles: [about
Marky] Well, you can’t leave her here.
Sorrowful: Afraid of
the cops?
Bangles: No, I’m
afraid of the kid. I don’t want her here. I’m
not going sappy over her!
She needs a transfusion so the doctors proclaim, but it has been made clear already, now verified by tests, that none of them have the right blood. Beyond all reason, it turns out, Big Steve Halloway alone has “good blood,” saving the day and reviving their stolen princess, as well as redeeming his pride and life. Now, presumably, as usually happens in Damon Runyonland, everything will turn out just swell: Sorrowful and Bangles will marry and keep their ill-gotten gains. But what are they going to tell her about her real father? Does it really matter in a world so corrupt?
*The long scene where Sorrowful seems
to be making up a chair as her bed ends in the child entering his own bed. We
must presume that Sorrowful sits out the night in the chair. In a later scene,
Bangles falls to sleep in bed with the child. Throughout, every male character
lifts and holds her in numerous manners in an attempt to guess her weight. In
short, almost everyone in the film holds and embraces this self-proclaimed “bad
girl.”
Director Hall, evidently, actually abused the young actor, telling
Temple that her mother had been kidnapped in order to invoke her tears.
Los Angeles, June 22, 2012
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