Having seen many sentimental movies over the years, I can vouch that I do have a big heart and can swallow even some of the most unbelievable situations. However, this one made me wince thanks to its outrageousness in trying to get me to stretch my imagination. When newly released jailbird George Murphy asks Margaret O'Brien why is she crying, I half expected her to respond, "I do that in all my movies". Like Tootie in "Meet Me in St. Louis", this is one weird child, and today, there would be some psychological term for the issues she has. For one thing, she seems to be much closer to her concerned aunt (an understated Angela Lansbury) than her own mother (Phyllis Thaxter), involved in their lives that they all share together in Hell's Kitchen. She's unaware that Murphy (Lansbury's fiancée) has been in prison, and the fact that the elders in her family keep all these secrets from her is the set-up for an emotional explosion that could destroy everybody.
Mama Thaxter doesn't really endear herself to O'Brien by constantly telling her "wives tales" that really aren't true. For example, she says that the presence of a mouse in the house means that money is not far behind, and when O'Brien catches a mouse in a cigar box trap she's made, she hides it in a wall where she's sure she'll come back to find coin, not a dead mouse. Two neighborhood brats steal from the blind newspaper man whom O'Brien has befriended and ironically replace it with the cigar box mouse (still alive for you animal rights activists) which O'Brien then finds, only to discover that the money she found belonged to her pal.
This sets off a whole series of tragedies which threatens the health of a pregnant Thaxter, and is even further compounded by the revelation to O'Brien of Murphy's past. Will O'Brien's search for a kneeling cow on Christmas Eve be the saving grace for the ailing Thaxter? Will Murphy and Lansbury get past his decision to leave Hell's Kitchen once his parole is up? All this seems to be in the hands of little Margaret, that little Tenth Avenue Angel who buried her dead dolls at Christmastime in St. Louis, now stalks the stock yards of the meatpacking district, ironically coming across Murphy who barely escapes being caught in another crime.
Saccharine overloaded family drama, one of the most outlandish in the late Louis B. Mayer days at MGM, takes his pet child to the point of ridiculousness. The film certainly is watchable, and some messages might be learned in it, but as a film, it really stretches the credibility to an all-time low. Everybody in the cast does their best with the pretentiousness of the script which is as close to Tenth Avenue as Sesame Street is. Lansbury is made up to look rather dowdy, but it's nice to see her playing something other than the harridans she was usually cast as. Rhys Williams is very good as the kindly blind newspaper stand operator who obviously doesn't deserve the cruelty that befalls him and is never dealt with after O'Brien returns the money to him. Obviously made to capitalize on the success of "The Miracle on 34th Street", this fails in practically every aspect.
Mama Thaxter doesn't really endear herself to O'Brien by constantly telling her "wives tales" that really aren't true. For example, she says that the presence of a mouse in the house means that money is not far behind, and when O'Brien catches a mouse in a cigar box trap she's made, she hides it in a wall where she's sure she'll come back to find coin, not a dead mouse. Two neighborhood brats steal from the blind newspaper man whom O'Brien has befriended and ironically replace it with the cigar box mouse (still alive for you animal rights activists) which O'Brien then finds, only to discover that the money she found belonged to her pal.
This sets off a whole series of tragedies which threatens the health of a pregnant Thaxter, and is even further compounded by the revelation to O'Brien of Murphy's past. Will O'Brien's search for a kneeling cow on Christmas Eve be the saving grace for the ailing Thaxter? Will Murphy and Lansbury get past his decision to leave Hell's Kitchen once his parole is up? All this seems to be in the hands of little Margaret, that little Tenth Avenue Angel who buried her dead dolls at Christmastime in St. Louis, now stalks the stock yards of the meatpacking district, ironically coming across Murphy who barely escapes being caught in another crime.
Saccharine overloaded family drama, one of the most outlandish in the late Louis B. Mayer days at MGM, takes his pet child to the point of ridiculousness. The film certainly is watchable, and some messages might be learned in it, but as a film, it really stretches the credibility to an all-time low. Everybody in the cast does their best with the pretentiousness of the script which is as close to Tenth Avenue as Sesame Street is. Lansbury is made up to look rather dowdy, but it's nice to see her playing something other than the harridans she was usually cast as. Rhys Williams is very good as the kindly blind newspaper stand operator who obviously doesn't deserve the cruelty that befalls him and is never dealt with after O'Brien returns the money to him. Obviously made to capitalize on the success of "The Miracle on 34th Street", this fails in practically every aspect.