La signorina rompicollo

Lois Butler is 14, transitioning from being a tomboy to being in love. Her mother is dead, and father Bill Goodwin speaks every line like a radio announcer. Between trying to make sure he doesn't marry Rose Hobart and stopping the movie so she can sing a song -- she does a nice version of "If I Were The Only Girl In The World", it looks like a by-the-numbers movie by people who have no sense of how people behave, but have seen every Andy Hardy and Henry Aldrich movie, and have a contract with Eagle-Lion, working its way out of its PRC origins.

Despite an interesting cast that includes Irene Hervey and Hattie McDaniel, it never attempts to exceed its rote expectations, despite a script by Agnes Christine Johnston.

When you watch "Mickey", don't expect much when it comes to the color. This is because like many B-movies of the late 40s and early 50s, they used Cinecolor. Cinecolor was a two-color process which produced a noticeably inferior look compared to three-color Technicolor because it didn't exactly have true color*...and some colors, such as blues, purples and yellows don't look right. And, over time, Cinecolor tends to degrade and turn the print orange-green. So why did they pick Cinecolor anyway? Well, it was cheap...about the same price as black & white film stock....and MUCH cheaper than a full colored print.

When the story begins, you see that Mickey is a tomboy....a girl who would rather play baseball than go on dates or sing....though she does have a lovely singing voice. However, through the course of the film it becomes obvious that this teen is starting to notice boys...and her father's lady friend (Irene Hervey) offers her help in changing her style and attracting boys. Unfortunately, the small town has a busybody. Mrs. Matthews and her son, Robbie, are backbiters and do their best to make Mickey out to be some sort of skank...which she clearly isn't. Plus, this awful woman has designs on Dr. Kelly (Mickey's dad)...as they both are spouseless. Is dad going to wise up or are they destined to marry this hellish woman and make her Mickeys step-mom?!

This is a generally enjoyable and sweet coming of age film. It is hindered by some occasional poor writing...especially with how Mickey's father is written. He seems a bit too stupid and is quick to believe the worst of his lovely daughter...which is especially so since he's a doctor! But Mickey was written well and the story works well despite a few minor hiccups.

As for Mickey, Lois Butler was very good and it's a shame she made so few films and TV appearances. I have no idea why, as she seemed like a great successor to Deanna Durbin, who was no longer young enough to play these sorts of roles.

One final note. The nice lady who helps Mickey is played by Irene Hervey. For some reason, an internet meme which has spread far and wide (and often) and posts a photo of Irene Hervey...saying it's Irene Ryan (who played Granny on "The Beverly Hillbillies"). This is stupid...they look nothing alike and each time I've seen the post, it shows an autographed photo...one that says IRENE HERVEY on the signature! Oh, those dumb social media rumors!!

*There were several other two color processes, such as Two-Color Technicolor and TruColor. Amazingly, TruColor, despite its name, is anything but true!

Like "Montana Mike," another childhood film I loved, "Mickey" was avidly watched by my brother and me as children in the early days of television. I don't remember it in detail, but it used to be aired fairly frequently and my brother and I would both eagerly anticipate its broadcast. I do remember that Mickey was a "tomboy" and we both thought "Mickey" was the greatest. I think children today might enjoy it too, although I am not so sure that it would stand up for me as an adult. But who knows? It should be released on video if only as a cinematic artifact of a more charming and innocent period in American history.

Lois is my aunt. She was my favorite person. She would always sing to me when I was young, she always had a beautiful smile and I loved her very much. I am so happy that people liked "Mickey", I thought it was a darling movie. Thanks for all the positive responses. She was also married to Hall Bartlett, producer of "Jonathon Livingston Segull". He was a gorgeous man with steel blue eyes and black wavy hair. He wanted her to continue her career but she wanted to have children and raise a family. She married a wonderful man after Hall. He was a dentist. They moved into a great home that had been owned by Chuck Conners previously.

Back in the '50s, before the major studios released their old movies to TV, several so-called "poverty row" companies (Republic, Monogram, PRC, etc.) filled the void with the television equivalent of "garage sales" of their low-budget 'B' products. Because of the paucity of old movies on TV in that era, a number of these films were shown over and over again--and proved, to viewers' delight, that an economy budget didn't necessarily spell mediocrity. Case in point: Eagle-Lion's sprightly "Mickey," a thoroughly disarming tale of a feisty teenaged tomboy coming of age in small-town America. A charming young actress with a lilting soprano voice, Lois Butler played the title role, supported by such pros as Bill Goodwin as her understanding widowed Dad, and the always-lovely Irene Hervey as their next-door neighbor. The likeable Skip Homeier supplied additional charm as Mickey's highschool crush, and the magnificent Hattie McDaniel added her customary zing as--what else?--the wisecracking housekeeper. Released the same year as MGM's glossy, big-budget, all-star "A Date with Judy" (1948), "Mickey" was no match for that MGM blockbuster but exudes its own unpretentious charm. A dated artifact of its era, to be sure, but nevertheless a breezy, endearing portrayal of the trials and tribulations of small-town teenagers way back when. Films like "Mickey" shouldn't be ridiculed and forgotten but cherished and enjoyed for their candy-coated portrayal of a bygone era. A la Jane Powell, Ms. Butler even gets to sing a few tunes (most memorably "Someday My Prince Will Come") and the pleasing production is further enhanced by the pasteled Cinecolor cinematography. A modest, beguiling treat--long overdue for a re-discovery and restoration (are you listening, TCM?)