In 1880s Brooklyn, prissy Freddie Bartholomew (as Cedric "Ceddie" Erroll) celebrates his birthday by receiving a beautiful "highwheeler" from widowed mother Dolores Costello (as "Dearest" Erroll). When young Mr. Bartholomew takes the bicycle out for a ride, he is roughed-up by local bullies. But, Bartholomew fights back; and, he receives help from a swell pal, shoeshine boy Mickey Rooney (as Dick Tipton).<br /><br />Dusting themselves off, the lads listen to grocer Guy Kibbee (as Silas Hobbs) rail against "British aristocracy," after learning of their arrival in town. The British are coming, ironically, to take Bartholomew home to England. As it turns out, Ms. Costello's once denounced late husband fathered the only heir to the title "Little Lord Fauntleroy". And, Bartholomew must prepare to inherit grandfather C. Aubrey Smith's Earlship.<br /><br />In England, young Bartholomew (representing American idealism) clashes with gruff Earl Smith (representing British aristocracy). While that storyline reaches an obvious conclusion, there are others that make this film significantly more interesting than expected. Based on the classic story by (underrated) writer Frances Hodgson Burnett, it conveys some of the novel's nuances well, cleverly intertwining class, sex, and politics.<br /><br />In the 1930s, nobody could put a production together like David O. Selznick, and this is one of his best. As usual, they start with a perfectly cast lead. In one of his best parts, Bartholomew fits "Little Lord Fauntleroy" like a glove; he's even better "suited" to the role than was Mary Pickford (in 1921's version). Bartholomew was riding high after supporting Greta Garbo in Selznick's masterfully realized "Anna Karenina" (1935).<br /><br />Mr. Selznick liked to lure legends back before the camera, and succeeds with Ms. Costello; certainly, film-goers in 1936 couldn't help but be impressed with her billing - "Dolores" (a star on her own) "Costello" (as in Maurice) "Barrymore" (as in John) - the latter was used despite the fact that Dolores had recently divorced John Barrymore. Times change; nowadays, C. Aubrey Smith will raise more critics' bushy eyebrows.<br /><br />You also get Mr. Kibbee, providing seasoned counterpoint for the upper-crusted Mr. Smith, and similarly dignified Henry Stephenson (as Havisham). Kibbee's last words reveal the story's one real downer, but he handles the role expertly (and, you see the seeds of Bartholomew's likely post-pubescent rebellion). Watching old/young soul-mates Kibbee and Mr. Rooney perform together is a delight; and, Rooney is likewise marvelous.<br /><br />By the way, note director John Cromwell's simple, but stately, direction; smoothly tracking, he moves the story perfectly. Mr. Cromwell and the Selznick crew make the film into one of the era's better-looking productions. With photography by no less than Charles Rosher and music by Max Steiner, it's unfortunate this lost "Best Picture" received no award notices. If Selznick produced it at MGM, there'd have been nominations.<br /><br />The well-staged street scenes and beautiful sets are obviously highlights, with the opening sequences most impressive - but also noteworthy are simpler scenes. For example, later in the production, as Rooney and Kibbee shine each other's shoes, a singular paperboy is added to the background. Note the horse-drawn carriages, storefronts, and passersby throughout - this film is richly detailed, but never over-decorated.<br /><br />Taking a trip further down the credits, watch for great expressions from maid Una O'Connor (as Mary); the extraordinary Constance Collier (as Constanzia Lorridale), who inspired Joan Crawford and other legends; bratty Jackie Searl (as Tom Tipton), who gave Bartholomew a run for his money; lovable scene-enhancing Jessie Ralph (selling apples); and, listen for Helen Flint (as Minna Tipton) to exclaim, "What a hole!" <br /><br />********* Little Lord Fauntleroy (4/2/36) John Cromwell ~ Freddie Bartholomew, Dolores Costello, Mickey Rooney, Guy Kibbee