Polly: The Television Movie

POLLY

This review is part of the Summer Under the Stars Blogathon. Today's star is Brock Peters.

I do not know if the expression "Pollyanna" to be incessantly optimistic no matter how bad a situation may be is still in use. If so, that might explain why Polly, the African American adaptation of the Eleanor H. Porter novel is mostly forgotten. That it is unavailable due to streaming and broadcasting rights issues does not help. That is a terrible shame, for Polly is a sweet, delightful adaptation. It is also unafraid to tackle the serious issue of race, albeit with a gentle touch.

Sweet and optimistic Polly Whittier (Keshia Knight Pulliam) has been orphaned after her parents' death in a car accident in 1955. Now, she goes from Detroit to Harrington, Alabama to live with her Aunt Polly Harrington (Phylicia Rashad). It is no coincidence that Harrington, the town, shares the same name as Harrington, the woman. Aunt Polly is the richest black woman in Harrington. She is also formidable, intractable and intimidating to just about everyone in town. Miss Harrington, as everyone calls her, is not a dictator. She is, however, a quietly forceful figure. Aunt Polly even pushes her own sermon ideas on Reverend Gillis (Larry Riley); judging by his sermon, Miss Harrington is from the very dry Protestant worldview.

Polly finds everyone and everything in town delightful. Miss Harrington's assistant Nancy (Vanessa Bell Calloway) and Miss Harrington's maid Mrs. Conley (Barbara Montgomery) see that Polly has brought an enchantment into the home. Polly believes that we should be glad in all circumstances. Miss Harrington believes that we should be correct. Polly also wonders why there are no white folk in Harrington. Her new friend Jimmy Bean (Brandon Adams) tells her that the white folk are on one side of the creek, the black folk on the other, with both sides almost never crossing. A bridge had almost been completed, Jimmy adds, but burned before it could be completed.

Miss Harrington's quiet demeanor has everyone in town shaking except for one person. That is Dr. Shannon (Dorian Harewood). He is a "doctor of music" who moved to Atlanta some time back. Dr. Shannon, however, is back in town. He is also Miss Harrington's long-lost love. Both still pine for the other, but Miss Harrington's rigid manner prevents her from opening up. She is not the only one who is keeping things within themselves. Local recluse Mr. Even Pendergast (Brock Peters) wants to be left alone despite Jimmy and Polly's insistence. There is also Miss Snow (Celeste Holm), the white woman that Polly dares to see. Miss Snow is the white equivalent to Miss Harrington, who came close to literally bridging the gap between the two communities until the bridge burned. 

Polly's optimism and gentle rebellion against Harrington's rigidity (town and woman) soon starts paying off dividends. Townspeople start looking to themselves to fund the orphanage instead of looking for Miss Harrington's largesse with strings attached. The church starts finding joy in the Lord. Things culminate at the bazaar that Nancy's secret sweetheart George (T.K. Carter) organizes. Even Miss Snow emerges from her seclusion to participate. She and Mr. Pendergast share a past that connects them to the destroyed bridge. Polly, forbidden to go to the bazaar, is talked into sneaking out with and by Jimmy. That one act has devastating consequences for everyone in town. Will Polly lose her optimism? Will she be the one to metaphorically bridge the gap between black and white?

Polly was directed by Debbie Allen, who is also Phylicia Rashad's sister. That is a very talented family. In terms of directing, Allen did an excellent job. It is not surprising how well Polly's musical numbers were staged. Of particular note is Stand Up, as rousing a gospel number as has been committed to film. When we first encounter the church choir, they are a perfect reflection of Miss Harrington: respectable but deeply restrained. When we get the second encounter, one can feel the Spirit freely flow with a sense of joy and liberation. Leaning on the gospel music tradition of having the Spirit move you, Stand Up is big, bold and wildly enthusiastic. I would even argue that Allen as a choreographer drew from Alvin Ailey in how she staged the Stand Up number. Allen also showcases her multitalented skills in that she cowrote Stand Up. 

Polly's script by William Blinn even allows for some witty comments about the first and second choir numbers. Polly finds the very restrained choir not to her liking. She remarks that she's never heard a black choir sing like that. Aunt Polly mistakenly takes this as a compliment.

You also have a wonderfully upbeat number with Honey Ain't Got Nothing on You. Nancy, under Miss Harrington's instruction, has taken Polly to the posh dressmaker's shop. Polly asks if the classical music is all they have. She then looks for "Detroit" music, where we hear the Motown-like Honey Ain't Got Nothing on You. Again, we see a joie de vivre as Polly, Nancy and the shopgirls all get down with their joyful bad selves. 

Perhaps the biggest number is Sweet Little Angel Eyes. This song, performed after the very dull first church service, showcases Brandon Adams' extraordinary singing and dancing. Despite being a child, Adams dominates with his physical and vocal dexterity. Keisha Knight Pulliam does well in keeping up with Adams. However, every time Adams appears on the screen, we are drawn to him. 

Debbie Allen, however, shows that she can also have remarkably restrained numbers. Something More, Phylicia Rashad's solo number, would fit perfectly in a Broadway production. It is a moving number, well-sung and delivered by Rashad. Pulliam's solo number, By Your Side, is sweet and charming as she sings to her doll. By Your Side, curiously enough, is the only Polly number cowritten by Alan Menken, who has a long history with Disney music. By Your Side is darling, just like Pulliam in the role. Despite the various songwriters, none of the songs seem out of place. This is a credit to Allen to corral all the musical numbers into a cohesive whole.

It is also a credit to Allen that she drew strong performances out of the cast. Keisha Knight Pulliam is, yes, adorable and precious as Polly. She and Adams were wonderful together as Polly and Jimmy Bean, quickly transitioning from minor antagonists to solid friends. They play their roles with great earnestness, if not completely smooth in terms of characterization. It takes a great amount of skill from director and actor to have children talk about race without having them look or sound harsh or unnatural. When discussing Miss Snow, Polly asks, "She mean?". Jimmy replies, "She's white" in a pretty noncommittal and direct way. His delivery suggests that he does not know if Miss Snow is mean, only that her own race makes the mystery woman almost alien. Polly argues that a person's color is irrelevant to their goodness or badness. This is a pleasant idea that Pulliam sells.

The adults also acquit themselves well in their roles. Phylicia Rashad is intimidating and icy as Aunt Polly. She is able to convey a surprisingly imperious manner without looking ridiculous. Anyone who can ask "What is a Fats Domino?" with a straight face deserves major props. Her scenes with Dorian Harewood's Dr. Shannon work well. Harewood may be a bit forced in his manner, but it is not a dealbreaker. 

Brock Peters makes Mr. Pendergast into a slightly Boo Radley type figure in his reclusiveness. However, when he takes Polly's advice on how his lamp could make more rainbows if he opened up the window is a nice, gentle moment. His eyes reveal a man finding a metaphorical and literal new light. His scene with Celeste Holm also is a strong moment. The secret about the bridge is revealed in a soft, gentle manner. The regret shown is moving, a credit again to Allen's directing and Peters' acting.

Celeste Holm may be the "token white character" in Polly.  She, however, delivers the goods as the old lady who is brought back by Polly's enthusiasm and genuine warmth. Holm and Peters as stated do work well together. As they discuss the past and future bridge, Mr. Pendergast comments that there may a bridge yet. "Don't you think that "yet" should become "now"?", Miss Snow replies. Holm also works well with the other cast members. The last scene where Miss Snow and Miss Harrington come together is touching without having to use dialogue.

T.K. Carter's George and Vanessa Bell Calloway's Nancy make a nice couple. Both also work well with the other cast members. Overall, Polly is quite well acted.

It also couches the sensitive issue of race in strong but mostly family-friendly terms. The doctor who sees Polly after her accident calls her "a brave pickaninny". This is a surprising statement even if does reflect the time and was not said with any intended malice. Rashad as Aunt Polly tells him that her niece will grow up to be a strong black woman and is no one's pickaninny. Looking sheepish, the doctor replies that sometimes change comes fast to where some struggle to keep up. Again, the term might not be understood by younger viewers. The term, unfortunate as it is, was also spoken in a tone that denotes more foolishness than overt hostility. Polly does well to not condemn ignorance and show that people can overcome fear and prejudice once they get to know the other.

However, while race makes up an element of Polly, the film mostly revolves around the need to show how little acts of love and kindness can change lives for the better. Polly is meant as a sweet story about a little girl whose firm belief in seeing the good side to everything lifts those around her.

Polly has excellent musical numbers and strong acting from its cast. It might give Butterfly McQueen little to do in her final role. Overall, Polly works as the sweet, gentle story I think it set out to be. Polly will be appreciated by children for its upbeat manner and by adults for handling serious topics in a gentle way. It also will be enjoyed by all for some wonderful musical numbers. Hopefully, Polly will escape its lack of availability and find a welcome home everywhere. 

8/10