SYNOPSIS: Timothy Dennis (Mickey Rooney) and his sister (Juanita Quigley) travel the Atlantic to Eton to live with their newly married mother (Marta Linden) and stepfather (Ian Hunter). (Hmm. That doesn't sound so good. Better make it "their recently remarried mother." No, that won't quite do either. Better leave it). At first, our Mick is a bit resentful at being enrolled at Eton, but by film's end he comes to love the Brits.
NOTES: As a generalization, Freund photographed the first two-thirds of the film up to and including the car crash sequence, at which point Lawton took over. The difference between the gray-toned lighting favored by Freund and the glossy blacks created by Lawton is really striking. On the other hand, the camera-work is more inventive under Freund's control, using a combination of effective tracking shots and attractive compositions.
This was Freddie Bartholomew's last important film role. He starred in a PRC movie, "The Town Went Wild", released in 1945, and finished up with a co-starring part in Edgar Ulmer's "Saint Benny the Dip" (1951).
COMMENT: The screenplay itself comes across as rather dated, thanks to blatant wartime propaganda sermonizing, but the players give it their all. In fact, many of the actors seem a bit too anxious to make an impression somewhat larger than life. Edmund Gwenn appears a trifle overly patronizing, whilst Miss Quigley lays on her over- precocious mannerisms with a trowel. On the other hand, Ian Hunter is his usual stuffy self. Alan Mowbray, however, has to be content with only a small part as a helpful driver.
As for Master Rooney/Maguire/Yule, he does his best with a rather odd script that doesn't always present the character in a favorable light. The assault on Alan Napier, for example, whilst it makes for plenty of scuffling action, becomes rather violent. It's also rather dubiously motivated and even morally irresponsible. Even if we apply the old adage that boys will be boys, it still loses a deal of sympathy for the title character.
Nonetheless, "A Yank at Eton" has been realized on a grand scale, with top location and studio photography, nice second unit work and a wonderfully appropriate Etonian score (deftly recorded too). Although the main unit worked entirely in Hollywood, both exterior locations on the MGM back lot and interiors within the sound stages, all look solidly authentic.
NOTES: As a generalization, Freund photographed the first two-thirds of the film up to and including the car crash sequence, at which point Lawton took over. The difference between the gray-toned lighting favored by Freund and the glossy blacks created by Lawton is really striking. On the other hand, the camera-work is more inventive under Freund's control, using a combination of effective tracking shots and attractive compositions.
This was Freddie Bartholomew's last important film role. He starred in a PRC movie, "The Town Went Wild", released in 1945, and finished up with a co-starring part in Edgar Ulmer's "Saint Benny the Dip" (1951).
COMMENT: The screenplay itself comes across as rather dated, thanks to blatant wartime propaganda sermonizing, but the players give it their all. In fact, many of the actors seem a bit too anxious to make an impression somewhat larger than life. Edmund Gwenn appears a trifle overly patronizing, whilst Miss Quigley lays on her over- precocious mannerisms with a trowel. On the other hand, Ian Hunter is his usual stuffy self. Alan Mowbray, however, has to be content with only a small part as a helpful driver.
As for Master Rooney/Maguire/Yule, he does his best with a rather odd script that doesn't always present the character in a favorable light. The assault on Alan Napier, for example, whilst it makes for plenty of scuffling action, becomes rather violent. It's also rather dubiously motivated and even morally irresponsible. Even if we apply the old adage that boys will be boys, it still loses a deal of sympathy for the title character.
Nonetheless, "A Yank at Eton" has been realized on a grand scale, with top location and studio photography, nice second unit work and a wonderfully appropriate Etonian score (deftly recorded too). Although the main unit worked entirely in Hollywood, both exterior locations on the MGM back lot and interiors within the sound stages, all look solidly authentic.