Production
Although William Beaudine received critical acclaim both inside and outside the film industry for his direction, star Mary Pickford felt that he was too cavalier about the safety of the actors, especially in a scene where she had to carry a baby across some water filled with alligators (Pickford wanted to use a doll, but Beaudine insisted on using a real baby), and even though the alligators' jaws were bound shut, Pickford swore that he would never work for her or her company as long as she lived. She was as good as her word, as Beaudine never worked for her or United Artists again. Toward the end of the picture, they clashed so often that Beaudine developed a serious paralysis of his face from the pressure and aggravation. He finally turned the picture over to his assistant, Tom McNamara, and left the set. McNamara finished the picture uncredited.
Art director Harry Oliver transformed 3 acres (12,000 m2) of the back lot between Willoughby Avenue and Alta Vista Street into a stylized Gothic swamp. The ground was scraped bare in places, 600 trees were carted in, and pits dug and filled with a mixture of burned cork, sawdust and muddy water.
Filming began in July, over summer vacation. The children had the run of the set, barefoot and in costume, so they would become accustomed to the environment. Each child had a crew member assigned to fish them out of the gunk. These assistants also made sure the kids were cleaned up and comfortable with warm towels when they emerged from the swampy water.
Pickford developed a great fondness for two-year-old Mary Louise Miller. Pickford, who had no children of her own, even tried to adopt the toddler, but her parents refused.
An earlier version of the 'Jesus in the barn' scene was filmed in which the dead baby's spirit was carried to Heaven by a phosphorescent angel. The scene was rejected in favor of the Jesus take.
Read more about this topic: Sparrows (1926 Film)
Famous quotes containing the word production:
“The heart of man ever finds a constant succession of passions, so that the destroying and pulling down of one proves generally to be nothing else but the production and the setting up of another.”
—François, Duc De La Rochefoucauld (1613–1680)
“Just as modern mass production requires the standardization of commodities, so the social process requires standardization of man, and this standardization is called equality.”
—Erich Fromm (1900–1980)
“Every production of an artist should be the expression of an adventure of his soul.”
—W. Somerset Maugham (1874–1965)