Annie (1982) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error A young orphan girl's adventures in finding a family that will take her. Director: From $2.99 (SD) on Amazon Video ON DISC a list of 37 titles created 02 Dec 2012 a list of 42 titles created 26 Jan 2013 a list of 31 titles created 21 Jun 2015 a list of 47 titles created 30 Nov 2015 a list of 31 titles created 9 months ago Search for " Annie " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Nominated for 2 Oscars. Another 2 wins & 11 nominations.

See more awards » Videos Edit Storyline In the depths of the 1930's, Annie is a fiery young orphan girl who must live in a miserable orphanage run by the tyrannical Miss Hannigan. Her seemingly hopeless situation changes dramatically when she is selected to spend a short time at the residence of the wealthy munitions industrialist, Oliver Warbucks. Quickly, she charms the hearts of the household staff and even the seemingly cold-hearted Warbucks cannot help but learn to love this wonderful girl. He decides to help Annie find her long lost parents by offering a reward if they would come to him and prove their identity. However, Miss Hannigan, her evil brother, Rooster, and a female accomplice, plan to impersonate those people to get the reward for themselves which put Annie in great danger. Written by Kenneth Chisholm <kchishol@execulink.com> 18 June 1982 (USA) See more » Also Known As: Anita la huerfanita See more » Filming Locations: $510,632 (USA) (21 May 1982) Gross: Did You Know?

Trivia Randal Kleiser was considered as a director for the film after the commercial success of Grease (1978). See more » Goofs Annie escapes, and a police officer brings her back. When the officer rings the doorbell with his nightstick, it slips off the doorbell and hits the wall, but the bell rings anyway. See more » Quotes Molly : [having a nightmare] Annie! Annie! Annie! Annie! Annie : Everything is going to be alright. One of my all time favorites 21 May 2002 | by Brutalfan (USA) – See all my reviews Aileen Quinn as Annie has everyone beat. With that darling face, that beautiful voice, she did a fabulous job creating the character. Albert Finney as Daddy Warbucks was wonderful! He had that stern 'businesslike' attitude which grew into heartfelt love for this little red-headed orphan girl. Carol Burnett was awesome as the lady who ran the orphanage. She started out gruff and tumble (and drunk) but as it turns out, she really has a love for these orphans. There is NO comparison to the newest version.

I can't see anyone else playing these parts better than Quinn, Burnett and Finney. It just isn't the same. If you want a beautiful musical with fun loving attributes, please see this movie!!! Your children will love you for it. Highly Recommended 33 of 45 people found this review helpful. Was this review helpful to you? Yes | The Kansas City Star Order Reprint of this Story Just when we thought the trials and tribulations of Orphan Annie were over after she was adopted by billionaire Daddy Warbucks — along comes yet another crisis! On Christmas morning 1933, Child Welfare Commissioner Harriet Doyle interrupts the family celebration to inform Daddy Warbucks that Annie’s adoption isn’t legal because he’s not married. He must marry within 60 days or Annie goes back to the orphanage. “Annie Warbucks,” a sequel to the original “Annie” production, opened Friday at The Theatre in the Park. “Everyone is familiar with Annie’s story,” said Chris McCoy, who directs “Annie Warbucks.” “But most don’t know what befell Annie after she was adopted.

‘Annie Warbucks’ brings back the same characters, including her dog, Sandy, with new music and a different plot.” “This is the first Annie show I’ve had an opportunity to direct. It was the first musical I saw as a kid. I loved it,” McCoy said. “‘Annie Warbucks’ is great for the entire family.” McCoy, who has directed in theaters at Seattle, Denver and San Diego, was scheduled to direct “Damn Yankees” at The Theatre in the Park in 2013. He left before it opened to be assistant director of a Broadway production, and Tim Bair, producing artistic director of The Theatre, stepped in to direct “Damn Yankees.” Devyn Trondson, 14, a freshman at Shawnee Mission Northwest, portrays Annie. “Devyn’s wonderful in the role,” McCoy said. “She’s an amazing talent. She completely transforms the character.” This is Devyn’s fourth show at The Theatre in the Park.

She was in the Disney Double Feature in both “The Jungle Book” and “Sleeping Beauty” in 2012 and, after that, in “Children of Eden” and “Honk.” She also has performed professionally at the Spinning Tree Theatre, Kansas City Repertory Theatre and the New Theatre. “Annie is different from any character I’ve played. She’s pretty tough because of all she’s been through. I really like her. She’s fun,” said Devyn of Lenexa. Devyn didn’t audition solely for “Annie Warbucks.” “I auditioned for all the shows this season,” she said. “I had callbacks for Annie and Baby Bear in ‘Shrek.’ They wanted me for Annie. I’m glad they did.” “My favorite song is ‘Leave It to the Girls.’ I especially like the show’s final scene. There’s a real twist at the end,” she said. David Stelting of Olathe has appeared in 27 productions at The Theatre in the Park, three of them as Daddy Warbucks in “Annie” and a fourth in “Annie Warbucks.” “My first show was ‘Sound of Music’ as a teenager.

That was many years and many pounds ago,” he added. “I had to learn a new set of lines for ‘Annie Warbucks,’” he said with a laugh. “‘Annie Warbucks’ was the only show I auditioned for. I thought if I don’t get Warbucks I’ll just sit in the audience and watch,” he said. “Devyn is great as Annie. When she sings ‘I Always Knew’ I tear up. I have five daughters, and father and daughter relationships are special,” Stelting explained. Every Orphan Annie show has to have a villain. Annette Cook, also of Olathe, fills that role in “Annie Warbucks” as Harriet Doyle, commissioner of Child Welfare in New York City. “I guess I can be a villain if you put it that way,” she joked. “It’s fun to play a different kind of character. As Commissioner Doyle I get to yell at Warbucks.” “My favorite songs are ‘Above the Law’ and ‘Leave It to the Girls,’” Cook said.

“I’m not a great dancer but they’re being patient with me.” Courtney Koval of Overland Park, plays Warbucks’ personal secretary, Grace Farrell, who Annie believes would be the perfect wife for him. Warbucks admits he cares for Grace but feels he’s too old for her. He doesn’t realize she would be more than happy to marry him. Reed Uthe, a drama teacher at Lakewood Middle School in Overland Park, portrays President Franklin D. Roosevelt. Daddy Warbucks calls him for help when Annie goes missing. Leawood City Councilman James Azeltine plays David Lillianthal, a politician who created the Tennessee Valley Authority. The show feature eight families performing together: Annette and Emma Cook; Matt and Willa Walberg; Delilah and Josephine Pellow; Debbie and Katie Blinn; Pam and Tess Sollars; Jan and Emma Lord; Savanna and Collette Worthington; and James and Andrea Azeltime. The details “Annie Warbucks” plays tonight and Sunday and again Wednesday, Thursday, Friday and Saturday at 8:30 p.m. in The Theatre in the Park, 7710 Renner Road, in Shawnee Mission Park.

The Theatre in the Park is partnering with the Johnson County Christmas Bureau to collect canned goods and clothing for the Bureau’s Holiday Shop during the run of “Annie Warbucks.” The Holiday Shop served 3,500 families and 707 nursing home residents in 2014. Donors receive a coupon for free popcorn. Little Orphan Annie | BeautyBeyondBones Little Orphan Annie As many of you know, I’m an actor . And one of my favorite roles I ever played was Annie. Yes, yes, your red-headed, optimistic orphan was portrayed by Yours Truly. A couple of times. But I mean, come on. You can’t not love that show. It’s like the original Hallmark movie: set in NYC during Christmas, cheesy dialogue (Leapin’ Lizards!), and of course, a feel-good ending. It’s got Hallmark written all over it. Now, I could dissect the lyrics of “The Sun Will Come Out Tomorrow.” I mean, let’s be real: that’d be a pretty appropriate topic for a recovery /hope-spewing blog. But, you all are smart people and I’m not here to waste your time. I respect you too much.

I’m here to talk about…Daddy Warbucks. Yep: your bald headed, capitalism-loving, millionaire softie. Now. Quick recap, in case you live under a rock and have never seen the show/movie/atrocious 2015 remake where they ADDED SONGS -_- #DontMessWithTheClassic #CarolBurnettForLife Only joking, only joking….kind of. But a recap in one sentence: Little orphan Annie goes to live with grumpy Oliver Warbucks as a PR stunt to soften his image; and in the mean time, she melts his heart and He ends up adopting her and becoming Daddy Warbucks. Yes, the music is great, there’s a dog, and the story line pulls at the heart strings. But I think what really captivates the audience and makes people fall in love with the show, is the relationship between Annie and Daddy Warbucks. And I have a theory for why that is, aside from the fact that I looked cute in a red wig . 😉 I think that deep down, all of us want a Daddy Warbucks. Hear me out. Annie is an orphan, living a “ hard-knock-life .” An orphan.

All her life, she has internalized that she was not wanted. Not loved. Her parents left her on a doorstep of an orphanage, because they didn’t want her. That, my friends, is a wound. And a deep one at that. But let’s be really honest here for a second: isn’t that our greatest fear ? Isn’t that something that trails us around? Am I lovable ? Do I matter? Am I wanted? And this little orphan is swept up into the arms of Daddy Warbucks, who falls in love with her, exactly as is. And showers her with all the delights money can buy: new clothes, trips to the movies, a beautiful mansion, presents, delectable foods — you name it. But at the end of the day, none of that mattered. “I don’t need anything but you.” Isn’t that all we long to hear? To know? That we are loved and are good. And worth loving ? It chokes me up every time I watch that show, because this little orphan, whose very existence communicated that she was unwanted , found someone who loved her unconditionally. She had nothing to offer. No way to earn it.

Hell, when she arrived at the mansion, she started doing chores, only to be stopped. She didn’t have to work in order to earn anything. Daddy Warbucks just loved her. It’s beautiful . And it can be our story too. I’m gonna keep this brief, so as not to get preachy, but Daddy Warbucks is like our Heavenly Father . So many of us live with that fear of being unwanted, being unlovable. For me, that fear was that in order to be loved I had to be perfect . But we long for someone to come in and validate us and alleviate those fears . Which, if left unresolved, leads so often to destructive behaviors . For me it was anorexia . But there are other things too: maybe we try to fill that hole with another addiction. Or promiscuity. Or designer clothing or shoes. Or busyness. Or gambling. Or being manipulative to people. Or lashing out. Or shutting people out completely. There is validation to be found. And it is in the arms of our Father . He wants to delight in us. He wants to shower us with love and show us that we, in fact, are loved. Wanted. Valued. Worth loving.

Worth saving . Worth adopting . He wants to be Daddy Warbucks for me and you. Yes. You. So put down the mop and bucket. There’s no work to be done here at the Warbucks Mansion. And I promise, “I think you’re gonna like it here.” 🙂 Share this: Oliver "Daddy" Warbucks - Works | Archive of Our Own Oliver "Daddy" Warbucks Fancy Evening Summary Set in the 1982 movie-verse. Featuring Oliver and Grace with a little itty bit of Annie. "Mom's stressing out." These were the words that first reached through the otherwise occupied mind of one Oliver Warbucks early one winter's afternoon. Language: The Orphan’s Epic | The Comics Journal BY R.C. Harvey May 20, 2013 On May 13, 2010, Tribune Media Services announced its intention to stop production and distribution of one of cartooning’s iconic creations, the newspaper comic strip Little Orphan Annie. The resilient redheaded teenager made her last appearance in the nation’s newspapers on Sunday, June 13, just two months shy of celebrating an 86-year run.

But the longevity, while notable, is deceptive: the strip foundered badly after the death of its creator, Harold Gray, in 1968, and while one of Gray’s successors righted the craft for two decades, Annie never again achieved the circulation or cultural status it enjoyed in Gray’s hands, proving yet again that a comic strip, uniquely the product of individual inspiration, usually cannot survive the death of its creator. And Gray’s strip was more idiosyncratic than most. Born in 1894 in Kankakee, Illinois, Gray joined the staff of the Chicago Tribune soon after graduating from Purdue University in 1917. He left for military service in World War I and then returned to the Trib; but he quit in 1920 to operate his own commercial art studio. One of his clients was Sidney Smith who hired him to assist on The Gumps, the Tribune strip that was so popular that the paper set up a syndicate to sell and distribute it to other newspapers. Gray soon aspired to doing a strip himself (Smith’s 1922 million-dollar contract may have helped inspire him), and he began sketching characters and imagining situations and talking to Smith about them.

When Gray came up with a concept they both agreed was promising, Gray showed his idea to Captain Joe Patterson, storied head of the Tribune Syndicate. The Captain wasn’t interested. But Gray kept at it. The ensuing parade of ideas was followed by a parade of rejections. It went on for months. One day while going over some of his sketches with Smith, Gray pointed to a drawing of a small gamin and declared that the boy would be an orphan. “Not bad,” Smith said, intrigued by the simplicity of the idea of a strip about an orphan, who must start out without relatives or friends or other complications. “But make the kid clean and cute and sweet to appeal to women readers.” Gray dutifully made the kid cute, gave him a head of curls, drew up a dozen sketches of the boy in various poses, and showed them to Patterson, calling his strip idea “Little Orphan Otto.” For once, Patterson was interested. Searching for crowd-pleasing pathos probably, the Captain decided to try the orphan strip. But he wanted Gray to alter Otto: “The kid looks like a pansy to me,” Patterson growled.

“Put a skirt on him and we’ll call it ‘Little Orphan Annie.'” It may have been the head of curls that did it, conjuring in Patterson’s mind the image of Mary Pickford in her early films. In the first volume of the IDW reprint of Little Orphan Annie, comics historian Jeet Heer reports his discovery of an alternative origin story for Annie: “In this version, Gray struck up a conversation with a young street urchin he met while roaming the streets of Chicago looking for ideas. ‘I talked to this little kid, and liked her right away,’ Gray told Editor & Publisher in 1951. ‘She had common sense, knew how to take care of herself. She had to. Her name was Annie. At the time, some 40 strips were using boys as the main characters; only three were using girls. I chose Annie for mine, and made her an orphan so she’d have no family, no tangling alliances, but freedom to go where she pleased.’” Probably neither version is the unadulterated truth.

The first smacks of legend; the second suffers from being a storyteller’s story, concocted long after the fact by which time Gray was an even better storyteller than he’d been on the outset. The legend is that Patterson worked with Gray to plot the first few strips, telling the cartoonist to aim for adult readers. “Kids don’t buy papers. Their parents do,” Patterson explained. They devised a Dickensian tear-jerker of an introductory sequence: little Annie (smaller and therefore cuter at first than in her heyday) was forced to labor for her keep at the orphanage, which was as grim and oppressive as any Oliver Twist ever endured. Her fate was presided over by Miss Asthma, whose rotten disposition ringed every childish hope for adoption with a nimbus of gloom. The first strip appeared on August 5, 1924, and concluded with Annie’s bedtime prayer: “Please make me a real good little girl so nice people will adopt me. Then I can have a papa and mama to love. And if it’s not too much trouble, I’d like a dolly. Amen.” But Annie wasn’t just a cute, sweet little girl.

Gray quickly added dimension to her character: in the next day’s strip, when a rude boy teases her, Annie wallops him in the kisser, establishing immediately that she has a certain independence of spirit in spite of her straitened circumstances. In a short time, Annie was a popular feature, and that spirit of independence that pervaded Gray’s work eventually enlisted a devoted readership. At the end of the second month of the strip’s run, Gray introduced the character that would shape the philosophy of independence into a political stance: Annie is adopted by Oliver “Daddy” Warbucks, a millionaire industrialist who made his fortune manufacturing munitions during World War I. Warbucks became Gray’s example of the self-made man, the self-reliant individualist who made himself what he is through purposeful enterprise. The epitome of this culture hero, Warbucks is the larger-than-life version of what all the “little people” in the strip inevitably become if they follow Annie’s example of diligent labor and canny capitalism. But to be exemplary, Annie can scarcely be a rich man’s daughter.

As soon as Gray had established bonds of affection between Annie and “Daddy,” he sent Warbucks off on a business trip, and Annie is returned to the orphanage by the spiteful Mrs. Warbucks (who soon disappears from the strip forever). Annie is adopted again, this time by a slave-driving couple who make her life miserable. She runs away, accompanied by her only friend, a large orange-colored dog named Sandy, whom she acquired in January 1925. The two eventually take refuge at a farm owned by the poor but kindly Mr. and Mrs. Silos. But Annie is no burden to them: through hard work and her own ingenuity, the eleven-year-old waif is able to contribute to the couple’s welfare and happiness. After a few months, though, “Daddy” Warbucks finally locates Annie and takes her and Sandy back to live in splendid comfort with him. Thus did Gray inaugurate the cycle of separation and hardship, rescue and reunion that framed Annie’s adventures and the quest motif that animated them throughout the strip’s run. Separated from “Daddy,” Annie must find the means of survival; through her unflagging perseverance, she always does.

Oddly enough perhaps, Little Orphan Annie reached the zenith of its popularity during the thirties. “Odd” because it was the decade of Franklin D. Roosevelt, the man who gave government a social conscience. FDR’s mission ran in directions diametrically opposed to Gray’s ideas of self-sufficiency. Under Roosevelt’s tutelage, the down-trodden and the poor, the halt and the lame were encouraged to look to government for help rather than exhorted to help themselves by toiling determinedly and exercising tenaciously the principles of free enterprise. Gray’s message was precisely the opposite—although it was as much an accident of his story as it was a matter of political conviction. The best way for a little orphan girl to make her way in the world without being simply a weepy milksop is for her to be self-reliant. As a good story-teller, Gray knew that. Warbucks and the rest of Annie’s entourage were natural outgrowths of this central notion. As Gray’s exemplar, Warbucks could scarcely espouse self-reliance and free enterprise during the Roosevelt years without, at the same time, seeming to attack FDR’s policies.

And so Little Orphan Annie became the first nationally syndicated comic strip to be unabashedly, unrelievedly, “political.” Annie was not the first political strip: Bud Fisher’s A. Mutt—the first daily strip—was the first to take political potshots in its panels. But Fisher’s strip was published only in San Francisco at the time: it could reflect the opinions of its host paper to a fare-thee-well and suffer no more consequences than the editorials in the same paper (that is, the paper would presumably not be purchased by those who disagreed with the views expressed). Gray’s strip, on the other hand, was distributed nationally, and by tradition, syndicated strips steered clear of politics for fear of offending client papers who might cancel their subscriptions in retaliation. Annie was the first to break with custom. But it did so because the very essence of its story demanded it. Gray’s celebrated conservatism was hardly negligible in the development of the strip’s political thrust. But neither was the strip’s political content artificially superimposed upon an otherwise simple tale of a wandering orphan girl and her dog. The strip’s politics were organic—integral to its story and its heroine’s personality.

Throughout the thirties, Annie drifted from place to place, into “Daddy’s” care and out of it, spending most of her time with the ordinary folk and reviving by precept and example their faith in the values of hard work and economy. Sometimes the villainy she faced would be too much to be overcome by such simple virtue, and then “Daddy” Warbucks would show up and rescue Annie and everyone else. In the thirties, Gray introduced another element into the harsh reality of his rendition of the Depression—the element of fantasy. Increasingly, Annie was encountering villains that were not merely greedy landlords or corrupt small-time politicians: some of them were criminals of the most unconscionable nastiness, unscrupulous schemers and plotters of the vilest sort, some with plans for world domination. “Daddy” always arrived in time to save Annie, but not even he, powerful as he was, could punish these villains enough for their crimes. So Gray gave Warbucks aides adequate to the task. Gray had always been fascinated by the Orient (one of Warbucks’ earliest cohorts had been a Chinese mandarin named Wun Wey), and he now began to employ Oriental magic against his villains.

On February 3, 1935, a giant, turbaned Indian, eight (perhaps nine) feet tall, showed up as Warbuck’s new right-hand man. Punjab was that paragon, a kindly man of enormous strength and vast intelligence. And he could also supply an appropriate punishment for the most unsavory villains, villains too unspeakable for ordinary legal disciplining: throwing a magic blanket over them, Punjab muttered an incomprehensible incantation and banished them from this world (presumably sending them to another, much more unpleasant, plane of existence). Two years later, on February 21, Gray gave Warbucks another memorable assistant, a black-garbed, hooded-eyed agent of vengeance much more single-minded in purpose than Punjab and entirely humorless. His name, the Asp, evokes the poisonous viper Cleopatra deployed to achieve her suicide. The Asp’s homeland was (appropriately) in the Middle East where the term assassin originated. Gray’s fascination with the mysteries of the Orient culminated later in the same year with the introduction of the cryptic Mr.

Am, a fatherly, bearded sort of sultan, who, Gray hinted broadly, had lived since the dawn of time and who could enter the fourth dimension and restore the dead to life. (And if readers wanted to think Mr. Am might be Gray’s version of God, the cartoonist might smile but he probably would not object.) Fanciful as Gray’s fantasy element was, it was not at all light-hearted. At first glance, his drawing ability seemed too crude for rendering either his reality or his fantasy convincingly, but upon longer acquaintance, his artwork cast a spell that enhanced his story. In maturity in the late thirties, Gray’s drawings were filled with solid blacks, heavy shadows, darkly shaded nooks and crannies. It was a comfortless world, vaguely sinister. And in that world, Gray’s people stood around rigidly, posturing woodenly, as if inhibited, restrained, in their movements—perhaps because they were fearful. They seemed, in effect, nearly paralyzed with fear and apprehension. And the blank eyeballs for which Annie is famous were integral to the mood of this fearful climate. Although there was little action in many of Gray’s tales, most of them erupted in violence sooner or later.

Consequently, Annie seemed perpetually immersed in a sinister night-time world that threatened to assault her at every street corner. And her blank eyeballs were marvelously appropriate to her situation. One walks through a threatening night gingerly, never looking behind or to the side for fear of seeing a sinister presence there. One keeps his eyes focused resolutely, rigidly, ahead of him, in a kind of unseeing stare—precisely the effect that Annie’s eyeballs have. In such an atmosphere, when violence breaks out, we are not surprised. It belongs there. We have been led to expect it—to fear it. (The blank eyeballs would have been inspired graphic touch had Gray invented the device expressly for the purpose just described; but he was merely following one of the conventions of early comic strip art: George McManus drew Jiggs’ and Maggie’s eyes in the same way in Bringing Up Father, where the effect produced was quite different.

In Gray’s strip, though, the convention contributed substantially to the impression Gray clearly intended.) SOME READERS AND CRITICS—mostly avid supporters of Roosevelt’s New Deal—saw Annie as a political mouthpiece for Tribune publisher Robert McCormick’s conservative views masquerading as entertainment, a not-too-subtle indoctrination attempt by the Chicago Tribune. McCormick’s opposition to Roosevelt’s policies had a complex root system, partly philosophical and partly economic. We needn’t go into these matters at length here: for our purpose, it is perhaps enough to indicate what McCormick’s detractors may have thought. Reduced to the simplest terms, McCormick and others of his station who opposed FDR were seen as protecting their own self interest. FDR’s effort to make society care for the destitute and the jobless of the Depression had to be financed, and since no one but the rich had money, it seemed logical to assume that the rich would finance social welfare through increased taxes. Thus, much of the conservative opposition to Roosevelt could be interpreted as originating in the narrowest kind of selfishness: the desire of the wealthy and powerful to preserve their wealth and power. McCormick was wealthy and powerful.

Many of his class saw FDR’s programs as the cutting edge of an economic revolution that threatened their very existence. They believed that if society took up the burden Roosevelt urged upon it, the existing social order would be overturned in the process. McCormick may have shared these views to some extent, but since I have deliberately simplified (and therefore distorted) the issues here, we can give him the benefit of the doubt by viewing his war against Roosevelt from another angle. Consider the threat that the New Deal posed to McCormick’s vision of America. The New Deal, with its radical restructuring of political and social order, would alter forever the traditional American way of life that the Tribune had championed throughout McCormick’s stewardship. From Gasoline Alley to the U.S. flag on the front page, the Tribune stood for the values of Horatio Alger—small town life with its promise of success in return for hard work and perseverance. Regardless of the point of view we adopt for assessing McCormick’s politics, it’s not surprising that many thought he dictated Annie’s storylines. But the situation was scarcely as simple as that.

While the strip’s political diatribes during the thirties echoed McCormick’s on the editorial pages of the Tribune, they didn’t, for a long time, reflect Patterson’s views, and it was Patterson who ran the Tribune Syndicate and directed the efforts of the cartoonists. With his eye ever on the common working people, Patterson sensed that most of his readers were behind Roosevelt. Moreover, the Socialist instincts of his youth, never fully abandoned, made him sympathetic to the worker’s plight. In the early thirties, the Tribune’s sister paper that Patterson operated in New York, the screaming tabloid Daily News suddenly (and, remarkably, without any change in circulation or financial status) shifted its editorial ground. In a celebrated speech to his staff, Patterson announced, “We’re off on the wrong foot. The people’s major interest is no longer in the playboy, Broadway and divorces, but in how they’re going to eat, and from this time forward, we’ll pay attention to the struggle for existence that’s just beginning.” Almost alone among major newspaper publishers, the Captain supported Roosevelt and the New Deal.

And his support lasted through the thirties—until, in Roosevelt’s lend-lease formula for aid to Britain, Patterson thought he saw the President tipping his hand. Once Patterson, a passionate isolationist and advocate of neutrality, thought Roosevelt intended to get America into the European conflict, he broke with FDR and became as bitter a critic of his policies as McCormick, Patterson’s cousin and partner, had been for nearly a decade. And so was born the McCormick-Patterson Axis—the opposition to Roosevelt by the combined editorial voices of the two largest newspapers in the country’s two largest cities. But from March 1933 (the month Roosevelt was inaugurated for his first term) until December 1940 the cousins disagreed on Roosevelt, and Patterson defended him as passionately as McCormick attacked him viciously. Meanwhile, Gray’s orphan heroine went somberly about her business—reflecting her creator’s opinions, born of both political conviction and narrative necessity. And they were opinions that found enthusiastic reception among the readers of the day. Even while attacking FDR, Little Orphan Annie addressed profound concerns among its readers. The events of the Great Depression unfolded gradually: the world did not collapse overnight.

And as the economic institutions slowly crumbled, one after another, the dominant emotion among the population was fear—fear that an entire way of life, the American way, was falling apart. Gray’s strip addressed and assuaged that fear. Annie’s adventures proved again and again that the historic American ethic of hard work was not bankrupt and that capitalism could still work. Readers were reassured and comforted. Annie (and Gray) joined the homefront war effort during World War II. Annie blew up a German u-boat offshore and organized the Junior Commandos to collect tons of newspapers, scrap metal and other recyclable materials used in the manufacture of munitions and other implements of war. And then all of a sudden, Gray’s politics became more overt. What began as a storyteller’s stance morphed into a conservative’s protest. When Roosevelt was nominated for a fourth term in the summer of 1944, Gray had endured enough: he symbolized his feeling that FDR’s policies would be the death of the country by having “Daddy” Warbucks die.

On his deathbed, Warbucks complains and explains: “Some have called me a dirty capitalist, but I’ve merely used the imagination and common sense and energy that kind providence gave me. Now? Well, Annie, times have changed, and I’m old and tired. I guess it’s time to go.” Warbucks simply couldn’t survive in FDR’s welfare state. But after Roosevelt died the next spring, Gray brought Warbucks back to life. As Warbucks put it: “Somehow I feel that the climate here has changed since I went away. We’ll see….” GRAY’S POLITICS—or, perhaps more accurately, his cultural convictions—proved to be the spark that ignited his storytelling. And no one else would combine similar elements to successfully continue Annie. When Gray died in 1968, the strip was assigned first to his assistant, Tex Blaisdell, and then to David Lettick, who made a regrettable attempt to revive Gray’s earliest Annie, the younger, cuter one; but their Annie was an anemic shadow of Gray’s. The syndicate discontinued their effort in 1974 and went to reruns of Gray classics.

But after the 1977 success of “Annie,” the Broadway musical based on the strip, the syndicate resurrected the feature in 1979, turning it over to veteran comic strip storyteller Leonard Starr, who, by then, had retired his own comic strip, Mary Perkins, On Stage—a beautifully, realistically illustrated and well-told adventure/human interest continuity. The revitalized strip was renamed Annie to foster associations with the musical, and Starr skillfully revamped the look of the strip, retaining the essential appearance of the characters and hints of the brooding atmosphere of Gray’s effort but producing visuals that were crisp and modern-looking. Starr’s Annie was a successful endeavor, but it wasn’t infused with Gray’s passion. It was thoroughly professional but emotionless. When Starr retired in 2000, TMS (Tribune Media Services, the new incarnation of the old Tribune Syndicate) turned the writing of the strip over to a New York Daily News staffer with a penchant for comics history, Jay Maeder.

The drawing was initially done by comic book veteran Andrew Pepoy, but it was a lot of drawing and very little money compared to what Pepoy could earn drawing comic books; he left after a year or so, and Alan Kupperberg took over until 2004, when Ted Slampyak assumed the drawingboard chores. He drew the last Annie strip for June 13 release. Commenting about the end of the strip to Larry McShane at the Daily News, Slampyak said: “It’s kind of painful—almost like mourning the loss of a friend.” Maeder’s stories veered away from Annie more often than not, featuring Oliver Warbucks as an adventuring entrepreneur and patriot—“a sort of buff, Clive Owen-type,” saith Steve Tippie, TMS vice president for licensing. Maeder introduced several new supporting cast members, some of whom would run away with the strip for weeks on end. The most attractive of these was the woman pilot, Amelia Santiago, who, in action and name, was worthy of her own comic strip.

I had the sense sometimes that Maeder’s stories never actually ended: they scrambled through one threatening menace after another but then turned a corner into a new series of threats and menaces before quite resolving the previous conjuration. It was a page-turner without end—a continuous cliff-hanger. Nothing wrong with that: daily continuity strips are, almost by definition, prolonged cliff-hangers. But most of them end stories; Maeder’s Annie never seemed to. Gray’s strip had inspired a radio show, the first late-afternoon serial for young listeners; it debuted in 1930 and continued until April 1942. Hollywood produced movie versions, and Annie merchandise flooded the marketplace from time-to-time. The 1977 musical, which is performed over and over again across America by community theaters that pay fees for the privilege, has been “an annuity” for the syndicate, according to Tippie, interviewed by Phil Rosenthal at the Chicago Tribune. And TMS isn’t likely to forget the orphan’s revenue-generating potential. As the strip approached its discontinuation, it was being published in less than 20 newspapers; it could scarcely yield enough income to support its writer-artist team.

Not even the Tribune was running the strip, once one of the paper’s biggest attractions. Strangely, with Tippie as our source, TMS doesn’t seem to know why the strip has slipped in popularity. Officials are blaming the generally straitened circumstances in the newspaper business: the last few years, Tippie said, the strip has targeted young readers (instead of adults who are the biggest segment of comic strip readers?), and young readers don’t buy or read newspapers. Tippie and his cohorts may be confused about who reads their features, but they are not confused about potential revenue sources. In the last panel of the last strip, we see Daddy Warbucks, who, for all practical purposes, has displaced Annie as the chief protagonist, brooding uncertainly about what happened to Annie in her latest run-in with the Butcher of the Balkans. “And, leapin’ lizards, what about her dog Sandy?” asks Rosenthal. It’s a cliff-hanger, a Maeder specialty—“actually a show of faith that there’s still life in the old gal,” says Rosenthal. And then he quotes Tippie: “Annie is definitely not dying,” Tippie says.

“She will definitely have a life beyond this newspaper incarnation. The daily newspaper strip will go away. Now, that doesn’t mean that Annie won’t come back—whether in comic books, graphic novels, in print or electronic media. It’s just too rich a vein not to mine,” he concluded. All that’s lacking is the prospector who discovered and developed the vein of gold 86 years before. By way of saying a fond farewell to the auburn-haired orphan, here are a couple glimpses of the less grim and brooding aspect of cartoonist Gray’s vision. In these visuals, we see that Gray had a sense of humor, a laudably perverse one, at least about such intimate matters as Annie’s eyeballs and her perpetually red dress.

(I hand-colored one of these visual aids; alas, the only copy I had was a smeary black-and-white.) FILED UNDER: Harold Gray , Leonard Starr 9 Responses to The Orphan’s Epic One Eternal Day: That terrible red-headed Annie "O’er all those wide extended plains / Shines one eternal day; "There God the Son forever reigns / And scatters night away." Thursday, May 13, 2010 That terrible red-headed Annie The decline of newspapers and changing technology for the delivery of information and entertainment leads to the demise of one of the longest-running comic strips in the US. From the AP, as published at World Magazine : Tribune Media Services announced Thursday that it will cease syndication of the "Annie" strip on June 13. .... The comic strip "Little Orphan Annie" made its newspaper debut on August 5, 1924, first written and illustrated by creator Harold Gray. The strip later was renamed simply "Annie." The spunky orphan was adopted by Daddy Warbucks and later joined by her lovable dog Sandy. .... The classic era for the strip may have been the thirties and forties, especially the war years.

Harold Gray reflected the editorial views of his paper, the Chicago Tribune: Republican, anti-union, anti-FDR and New Deal, isolationist before the war, and strongly supportive of the war effort after Pearl Harbor. From the biography of Harold Gray at the beginning of Arf! The Life and Hard Times of Little Orphan Annie, 1935-1945 : In many ways Annie epitomized Mr. Gray's personal convictions that all Americans should act with honor, independence of thought, and industry, mind their own business and remain true to the traditional pioneering virtues. Describing his brainchild, Gray said: "Annie is tougher than hell with a heart of gold and a fast left, who can take care of herself because she has to. She's controversial, there's no question about that. But I keep her on the side of motherhood, honesty, and decency." Annie led a perilous life, hunting spies, sabotaging U-boats, and supporting the war effort at home. The strips below are from 1942.

Subscribe to: Post Comments (Atom) About "One Eternal Day" The title, "One Eternal Day," is from the hymn "On Jordan's Stormy Banks I Stand" [1787] by Samuel Stennett , a prominent English Sabbatarian Baptist. A verse from that hymn refers to the "Sabbath rest" believers will enjoy in the "promised land." "One Eternal Day" will usually call attention to the work of others. This is my chance to pass along things that I enjoyed, profited from, or that say well what I wish I'd said. I am a Baptist, a member of a church affiliated with Seventh Day Baptists , and some posts will reflect that identification. “He who marries the spirit of the age will soon find himself a widower.” Dean Inge Standfast: Jim Skaggs [Honest said] "I thought we had an honest man upon the road...." "If you thought not amiss," said Standfast, "how happy am I!

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It’s like the original Hallmark movie: set in NYC during Christmas, cheesy dialogue (Leapin’ Lizards!), and of course, a feel-good ending. It’s got Hallmark written all over it. Now, I could dissect the lyrics of “The Sun Will Come Out Tomorrow.” I mean, let’s be real: that’d be a pretty appropriate topic for a recovery /hope-spewing blog. But, you all are smart people and I’m not here to waste your time. I respect you too much. I’m here to talk about…Daddy Warbucks. Yep: your bald headed, capitalism-loving, millionaire softie. Now. Quick recap, in case you live under a rock and have never seen the show/movie/atrocious 2015 remake where they ADDED SONGS -_- #DontMessWithTheClassic #CarolBurnettForLife Only joking, only joking….kind of. But a recap in one sentence: Little orphan Annie goes to live with grumpy Oliver Warbucks as a PR stunt to soften his image; and in the mean time, she melts his heart and He ends up adopting her and becoming Daddy Warbucks.

Yes, the music is great, there’s a dog, and the story line pulls at the heart strings. But I think what really captivates the audience and makes people fall in love with the show, is the relationship between Annie and Daddy Warbucks. And I have a theory for why that is, aside from the fact that I looked cute in a red wig . 😉 I think that deep down, all of us want a Daddy Warbucks. Hear me out. Annie is an orphan, living a “ hard-knock-life .” An orphan. All her life, she has internalized that she was not wanted. Not loved. Her parents left her on a doorstep of an orphanage, because they didn’t want her. That, my friends, is a wound. And a deep one at that. But let’s be really honest here for a second: isn’t that our greatest fear ? Isn’t that something that trails us around? Am I lovable ? Do I matter? Am I wanted? And this little orphan is swept up into the arms of Daddy Warbucks, who falls in love with her, exactly as is.

And showers her with all the delights money can buy: new clothes, trips to the movies, a beautiful mansion, presents, delectable foods — you name it. But at the end of the day, none of that mattered. “I don’t need anything but you.” Isn’t that all we long to hear? To know? That we are loved and are good. And worth loving ? It chokes me up every time I watch that show, because this little orphan, whose very existence communicated that she was unwanted , found someone who loved her unconditionally. She had nothing to offer. No way to earn it. Hell, when she arrived at the mansion, she started doing chores, only to be stopped. She didn’t have to work in order to earn anything. Daddy Warbucks just loved her. It’s beautiful . And it can be our story too. I’m gonna keep this brief, so as not to get preachy, but Daddy Warbucks is like our Heavenly Father . So many of us live with that fear of being unwanted, being unlovable. For me, that fear was that in order to be loved I had to be perfect . But we long for someone to come in and validate us and alleviate those fears .

Which, if left unresolved, leads so often to destructive behaviors . For me it was anorexia . But there are other things too: maybe we try to fill that hole with another addiction. Or promiscuity. Or designer clothing or shoes. Or busyness. Or gambling. Or being manipulative to people. Or lashing out. Or shutting people out completely. There is validation to be found. And it is in the arms of our Father . He wants to delight in us. He wants to shower us with love and show us that we, in fact, are loved. Wanted. Valued. Worth loving. Worth saving . Worth adopting . He wants to be Daddy Warbucks for me and you. Yes. You. So put down the mop and bucket. There’s no work to be done here at the Warbucks Mansion. And I promise, “I think you’re gonna like it here.” 🙂 Share this: Little Orphan Annie (1932) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends.

Error Daddy Warbucks has to go on a long trip, leaving Annie alone. While wandering the street, Sandy leads Annie to discover Mickey, who is crying. Mickey's grandmother recently died, and he is ... See full summary » Director: a list of 5062 titles created 17 Jul 2011 a list of 134 titles created 21 Sep 2013 a list of 300 titles created 04 Nov 2014 a list of 250 titles created 7 months ago a list of 120 titles created 4 months ago Title: Little Orphan Annie (1932) 6.8/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Add Image Add an image Do you have any images for this title? Edit Storyline Daddy Warbucks has to go on a long trip, leaving Annie alone. While wandering the street, Sandy leads Annie to discover Mickey, who is crying. Mickey's grandmother recently died, and he is about to be taken away by Mrs. Berger to the orphanage.

He chooses to go with Annie to the shack where she and Daddy Warbucks live. She feeds him leftover pig's feet, cream puff and assorted food, but by the next morning he has a stomach ache. Annie takes him to an orphanage where he will be taken care of, but is herself is taken into custody. While in the orphanage, Annie takes care of Mickey. One day, Mrs. Stewart (a rich dowager) appears, wanting to adopt. The children a paraded before her. Hearing of her contrary nature, Annie makes sure that Mickey catches her attention by saying bad things about him, and by the end of the interview, Mrs. Stewart adopts him. In the orphanage, Annie misses Mickey, and although she's written four letters, Mickey has not responded (because he can't write). ... Written by Anonymous 4 November 1932 (USA) See more » Company Credits Version of Annie (1999) See more » Frequently Asked Questions (Springfield, VA) – See all my reviews I saw this movie at the kids' matinee at Peoples Theater in Dayton, Ohio, U.S.A., probably early in 1933.

(Since it was released in November of 1932, it wouldn't have got to our neighborhood house before '33.) I thought it was great. Of course, at the age of 8, I thought everything was great. I didn't even mind sitting through this to get to the cowboy movie on the other end of the double feature -- the real reason for going to the "show," as we said in those days. As I recall, the movie depicted the early history of Little Orphan Annie, from her days as a mistreated child in an orphanage to her being taken in by Daddy Warbucks. The comic strip had been running for several years by then, but at my age I was not familiar with the start of it. It was a kids' movie, pure and simple (or as close as Hollywood ever got to a movie for children), and we identified with the kids getting the best of the mean adults -- or any adults at all. 8 of 10 people found this review helpful. Was this review helpful to you?

Yes Daddy Warbucks - ‘Annie' actor to play role for ninth time - News - Wilmington Star News - Wilmington, NC Jul 6, 2011 at 8:02 AM By John StatonJohn.Staton@StarNewsOnline.com "I think people find it hard to believe that, for a guy who reads David Mamet and William Shakespeare, his favorite show is ‘Annie,' " J.R. Rodriguez said recently over lunch at downtown Wilmington restaurant Mixto. Rodriguez, who was a fixture in Wilmington's theater community for about 15 years before moving away in 2006, is back in town to play a role he's gotten quite attached to, that of Oliver "Daddy" Warbucks, the gruff but loving steel magnate who brings the red-headed orphan under his wing in the well-loved musical.

When "Annie" opens July 6 at Thalian Hall under the direction of Judy Greenhut for Opera House Theatre Co., it will mark the ninth time Rodriguez has taken on the role, and the fifth time he's done it in Wilmington: Three times now for Opera House and twice for The Thalian Association, including two turns in the musical sequel “Annie Warbucks.” He even played Caldwell B. Cladwell in “Urinetown,” a character who's like the dark side of Daddy Warbucks. "It's my favorite role," Rodriguez said. "I'd play Warbucks every day the rest of my life if I could." Set in 1933 during the Great Depression, "Annie" follows the adventures of a lovable orphan (played for Opera House by Emilia Torello) who goes, literally, from rags to riches. The book by Thomas Meehan was tweaked a bit for a national tour in 2009 that anticipated the show's return to Broadway in 2012 for the musical's 35th anniversary.

The role of Grace (Heather Setzler), the woman who watches over Annie, has been enlarged, and Warbucks has a few more lines, but it's mostly the same show everybody knows and loves. Rodriguez, who lived in Chicago for three years after leaving Wilmington, now lives in Alpena, in northern Michigan, where he's the artistic director of Thunder Bay Theatre. He said Alpena -- which he found through another former Wilmington thespian, Mark Butterfuss, who brought him in to play Mr. Van Damme in “The Diary of Ann Frank" -- reminds him of Wilmington “30 years ago” in that it's a small town with lots of theater going on. But when Rodriguez – who graduated from New Hanover High School and whose parents still live in Wilmington – heard Opera House was doing "Annie," he called up Lou Criscuolo, the company's longtime founder and artistic director, and offered up his services as Warbucks. “The reason I wanted to do it was a culmination of so many things,” Rodriguez said. “It was Opera House Theatre Company. It was the best teacher, Lou Criscuolo, I've ever had … But it was also the Wilmington audience.

There's nothing that compares to the audience in Wilmington. Even if they don't like something, they show a tremendous amount of respect for the attempt that was made, for the work that went into it. And I think that comes from Doug Swink and Sam Garner and Lou Criscuolo and Donn Ansell and Tony Rivenbark,” all names that have left their marks on Wilmington theater. “They taught the audience.” But while nostalgia for Opera House and his hometown was part of it, Rodriguez just couldn't pass up another shot at playing Warbucks. "The great thing about me and my love affair with Oliver Warbucks is that I always want to learn new things about the guy," Rodriguez said. "There's so much about Oliver Warbucks that I don't know yet." He said he's approached the role differently “every time, including this time with a director I've worked with before on the show (Greenhut). I've been the bully. I've been the tyrant. What we're doing here is, Judy has this idea that he's oblivious to things, and I kind of like that take on it.

He notices things, but if it doesn't affect his bank account he doesn't care.” Rodriguez said the toughest thing to that approach so far has been his co-star. “That face just beams,” he said of Torello. “How can you be oblivious to that?” Rodriguez said he always tries to develop a special relationship with the actress playing Annie, a connection that starts with him having her shave his head bald like Warbucks', something he's done since first playing the role in 1997. "I didn't like kids until that first rehearsal back in '97," he said. "I was a lot like Warbucks. I didn't know how to deal with kids. I went out and bought this big ol' bag of candy, didn't even ask the parents, and I just threw this candy at them." But as he began to actually talk to the children, he began to see them not as kids, but as fellows actors and human beings. "As many mistakes as I've made in my life, he's the guy I want to be. Because with the mistakes he's made in his life, he was able to change," Rodriguez said of Warbucks.

"If I can make that transformation into a better person, that's what's gratifying. And you get to see that with Oliver Warbucks – the tycoon who was taught to enjoy life by a child." John Staton: 343-2343

Question: Which red-headed orphan was adopted by Daddy Warbucks?
Answer: Annie