Where has this deranged monstrosity been hiding? Splashy TechniColored family film on the backstabbing backstage world of ballet finds ten-yr-old Margaret O’Brien, already a star for five years, entering the first (and last) growth spurt transition of her young career, guided by producer Joe Pasternak & director Henry Koster, now at M-G-M after helping teenage singing sensation Deanna Durbin work her way thru puberty at Universal. Could they do the same for O’Brien? (Hint: two years on she’d leave M-G-M at 12.) Here, O’Brien’s a scary, whispering, psychopathic terror, officially cared for by a traveling showbiz aunt and unofficially cared for by debuting Danny Thomas, the creepy downstairs ‘uncle,’ with the permanent 5 o’clock shadow, swarthy complexion and hooked nose of a fairy tale ogre. And he sings little ditties when pressed for advice. Yikes! Mostly, Margaret lives with fellow baby ballerinas at the dance academy where she’s become unnaturally fixated on company star Cyd Charisse and worried about new international superstar Karin Booth replacing her. Perhaps an Opening Night accident could fix all her problems. Crippled by a fall thru the on-stage trap door? Blackmailed by students who’ve guessed her secret. Panicky midnight flights from home. Breaking up marriage engagements to keep people close to you. Lying to anyone over the age of 21. This is one psychologically damaged horror show of a kid. A TechniColor first for lenser Robert Surtees with madly color-coordinated costumes and some surprisingly sophisticated dances, sets & decor. Perhaps ‘dance director’ David Lichine did more than choreograph this one-of-a-kind oddity.
ATTENTION MUST BE PAID: Baby-boomers will spot Elinor Donahue (eldest daughter on FATHER KNOWS BEST) debuting as O’Brien’s little turncoat dancing pal.
DOUBLE-BILL: Not seen here, but is the Grand Guignold ballet of BLACK SWAN/’10 any sicker? OR: Melodrama at the ballet came into its own next year with THE RED SHOES/’48.
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