NR | 1h 43min | Drama | 1957
Allen Reisner’s coming-of-age film set in the mid-19th century begins with an affirmation: “This is a true story, told the way it happened, in a midwestern American village.” It draws on the mid-20th century screenplay by Dale Eunson and his wife, Katherine.
Slowly, the couple build a family. Mamie’s so keen to become literate like the other ladies that she braves the embarrassment of sitting in a classroom alongside her son, 4-year-old, Robbie (Jon Provost).
Kirk survives diphtheria but Robert does not, forcing young Robbie to become a breadwinner too. He works at the sawmill during school vacation while Mamie takes on tailoring for the village’s ladies.
Later, typhoid claims Mamie. But before she dies on Christmas Eve, she gives young Robbie a tremendous responsibility. He must find “good” adoptive families for himself and his siblings so they don’t end up in a state home. The children become all his to give. Obediently but reluctantly he sets out on Christmas to meet the most caring families. He has one mission in mind.
Memorable character actors support the endearing child artistes. Alan Hale Jr. plays Robert’s tough, good-natured logging supervisor. The formidable Reta Shaw plays the condescending woman about town, Mrs. Runyon.
Molding Mature Masculinity
Unsurprisingly, Robbie imbibes his parents’ aversion to victimhood. His brothers and sisters learn to respect him not just because of his age, but because of the way he favors responsibilities over rights. Only 12, he sets aside his playfulness when the family’s in trouble. Without realizing it, the younger children imitate his restraint. As they’re suddenly packed off to new homes, they muffle their protest to lighten Robbie’s already heavy burden.
Robbie learns his masculinity from Robert. It’s not that men can’t or shouldn’t cry. But unless they restrain their emotions sufficiently, they won’t be able to follow through on the tough decisions they have to make. Once Robert pries the boys apart while they’re mock-wrestling, to remind them that Kirk’s still recovering and that they ought to be less willful. Robbie’s voiceover is reflective, tender: “We were so busy enjoying our new surroundings we didn’t realize how worried Papa was.”
As Mamie and Robert shield the children from Kirk’s illness, Robbie insists on knowing whether Kirk’s life is in danger. Robert cites Robbie’s concern as proof that he’s growing up, and says, almost to himself, that if a man can’t protect and provide for his family, he can’t live with himself. That deep sense of responsibility burns into Robbie, who wants to grow up to be like his Papa.
The richest tribute to Robbie’s heroism comes not after his spectacular acts but before, when his dying mother says, “I don’t know what I would’ve done without you. You’ve truly been a man of the house.”
