The third (of four) version of Damon Runyon’s LITTLE MISS MARKER* keeps the basic 'Kid as Gambler’s I.O.U.' framework, but drops the gags & repercussions of having a bookie (and associates) forced into the role of foster parent. Instead, scripter Marion Hargrove gins up some nonsense involving State Lines of jurisdiction & alimony while placing the action inside a posh Lake Tahoe Hotel/Casino (managed by producer/star Tony Curtis) perfectly equipped to handle a kid’s every wish. No wonder they don’t list Runyon in the opening credits. Considering the missed opportunities, director Norman Jewison turns out one slick product, offering a nostalgic look at the human-scaled gambling scene of early ‘60s Nevada and, as climax, a dash thru the surprisingly bucolic DisneyLand of the era. Curtis, Suzanne Pleshette & Phil Silvers are all pleasant company (even without a single good line, Silvers gets his laughs), but the little girl is something of a drag. Rate it . . . ‘meh.’
WATCH THIS, NOT THAT: *The first LITTLE MISS MARKER, 1934-Paramount: Adolphe Menjou & six-yr-old Shirley Temple (phenomenal in her breakthru pic) is by far the best; laughs, tears & unexpectedly serious overtones. SORROWFUL JONES/’49 has a Damon Runyon dream-team in Bob Hope & Lucille Ball (see below); and the most recent MISS/’80 boasts an amusingly sour turn from Walter Matthau, holding back on the cream at the top of the milk bottle.
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