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6.4/10
Senior Film Conservator
A definitive 6.4/10 rating for a film that redefined the boundaries of cult cinema. Baby, Take a Bow remains a cornerstone of transgressive art.
If you have a soft spot for 1930s melodrama and want to see Shirley Temple before she became a household icon, then yeah, put this on. But if you’re looking for a tight, logical crime thriller, you’re going to be frustrated by how quickly the police jump to conclusions. It’s a movie for people who like to see characters get picked on until they finally do something about it.
Let’s be honest: the plot is basically just an excuse to put Shirley Temple in situations where she can be cute, defiant, or both. She’s the anchor here. James Dunn plays the dad with this frantic, nervous energy that makes you want to reach through the screen and tell him to just breathe for a second.
The detective character, Welch, is the kind of guy who probably needs a hobby. He’s obsessed with the idea that people don’t change. It’s annoying to watch, but that’s the point, right? He stalks around like he’s waiting for a slip-up that isn’t coming.
I couldn't help but think about how different this feels compared to something like Waterloo Bridge. That movie carries such a heavier, darker weight. Here, the stakes feel a bit more like a domestic squabble that got out of hand.
The ending is… well, it happens. It doesn’t feel earned so much as it feels like the director finally checked their watch and realized they were out of film. But you don't watch this for the procedural accuracy. You watch it for the way Shirley looks at the camera when she’s getting away with something. It’s magic, even if the rest of the movie is just fine. 🎬
