At one point in the film, "Daddy-Long-Legs", Judy Abbott writes the story of her life at the orphanage, which we had previously seen. Mary Pickford's increased control over her vehicles in return increased the power of screenwriters. Frances Marion had launched Pickford to stardom by adapting "The Poor Little Rich Girl" and other works--establishing Pickford's typical role as a child--but Marion is absent on this one. Yet, although "Daddy-Long-Legs", is authored by others, it doesn't stray from Marion's formula during the first part: a sympathetic predicament for the child, offset by comedic set pieces. It entertains while holding the audience's emotions. This film is full of intertitles, as well. Ferdinand Earle's "art titles" occur more often during the introductory scenes than do moving pictures (it seems fades do, too). The entire story is largely told this way, and it indicates the important role of the screenwriter.There's no surprise here. If you're familiar with Pickford's films, you know what you're going to get, and "Daddy-Long-Legs" gives you just that. There is the college years afterward, but that's in the same spirit. The transformation from adolescent to college student is convincing enough. The entire movie is episodic. The pacing is appropriately brisk. And, the girl with the golden curls does her usual thing.Hollywood movies were looking great by this time, and "Daddy-Long-Legs" reflects that. There are plenty of iris shots, including a masking wipe that acts as a curtain after a performance of "Romeo and Juliet". The film is amply lit and tinted. There are silhouettes and dark photography aided by blue tinting--so we may still see Mary. And, the camera gets close. The film shows the common look and technique of 1919 Hollywood pictures. On the other hand, not much has changed since Maurice Tourneur directed Pickford in "The Poor Little Rich Girl" two years afore. They still use large sets to make her appear even shorter while portraying an adolescent. There was much gloss to it, as well. Most of all, it's still passable, light entertainment.

1st watched 10/21/2001 - 7 out of 10(Dir-Marshall Neilan): Well-constructed story about an orphan and her pursuit for happiness and her changing relationship with a character that she calls ‘daddy-long-legs' that helps her throughout her life anonymously and final reveals himself at the end of the movie.(I'll keep this secret so that you can find out who it is for yourself when you watch the movie.) Tauted as one of Mary Pickford's best movies and considering this is the first I've seen of her's I will agree. The movie is great not entirely because of her but because of the story. She does a good job of molding into this character step by step but without the interesting storyline she would not have opportunity to show her talents. Agnes C. Johnson wrote the script and it is based on a novel by Jean Webster. It is no surprise that this work is used to create another four movies including the Shirley Temple movie 'Curly Top' and and a fifties musical. Starts out similar to the ‘Annie' story but really spans the character much further in her life and shows the ups and downs of being an orphan in a much greater way than that film. Another good silent-movie viewing experience for those who are patient enough to read and pay attention a little more closely while watching a film. This one is worth the effort.

stars in the first film version of Daddy Long Legs and is dazzling. A peerless comedianne of the silent screen, Pickford plays the spunky orphan as Chaplin would have---lots of physical comedy, sight gags, and pathos. In the 2nd half of the film, Pickford "grows up" and displays here usual warmth. Surely as Pickford films become more available, she will reclaim her place in the Hollywood pantheon. She ranks with Lillian Gish and Gloria Swanson as the best actresses of the silent era, but Pickford remains untouched (even by Mabel Normand and Marie Dressler) as a comedienne!

An oft-told tale's original version, engaging because Mary Pickford's energy and ability draws you in. Her liveliness gives life to this melodrama. The titles act as transitions and some filler with dialogue but don't interfere. Viewers know what's going on during lip movement and the few dialogue titles make sense without insulting pointlessness. Marred only by an inane Cupid scene, Pickford's performance rises above the maudlin April-October romance, as her character elevates herself above her situation and station, by sheer positive effort and force of personality.