George Milton and Lennie Small are migrant workers in the 1930s Depression. Lennie is mentally disabled and George looks after him. While working as hands on a Western ranch, they dream of ... See full summary »
Outside the Framework UNDER CONSTRUCTION SERIES In 2003 and 2004, a Kosova based documentary team traveled throughout the countries of ex-Yugoslavia and Albania, filming and interviewing ... See full summary »
Mark Embury sets out to create the perfect wife by adopting Peggy. His work is a success until the girl falls in love with another man. Ultimately, he must give her up and become satisfied ... See full summary »
J. Searle Dawley
"The Grapes of Wrath: We Shall Overcome" is a documentary film authorized by the Estate of Elaine A. Steinbeck. The film explores the legacy and meanings of John Steinbeck's American ... See full summary »
George Milton and Lennie Small are migrant workers in the 1930s Depression. Lennie is mentally disabled and George looks after him. While working as hands on a Western ranch, they dream of owning their own ranch and the opportunity may be available. Their current ranch is owned by a sadistic man who has a flirtatious wife. Written by
One of the first films to have a pre-credits opening sequence. See more »
George and Lennie eat canned beans. The beans are heated before they open the cans, and they hold the cans barehanded. See more »
You had a cigarette and a drink and a look at a pretty dress, and it cost you fifteen bucks! You just shot a week's pay to walk on that red carpet!
A week's pay? Sure, but I worked weeks all my life. I don't remember none of them weeks, but this - nearly twenty years ago - I remember that.
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The movie begins before the credits are shown. George and Lennie are fleeing a mob. They board a boxcar on a moving train, and as they close the door of the boxcar we see the main title already written on the door of the boxcar. See more »
The first comment given here shows an incredible lack of understanding of Steinbeck in his California period. Our Irish friend's acrid comments show he obviously doesn't like Steinbeck and that's his privilege. Now, having said that, I must say he's wrong. This film is excellent. Just that. The cast is wonderful and the story is a classic: the destruction of innocence by cruel reality (viz: the title of the story taken from a line from a Robert Burns's poem). And, while Steinbeck was not one to let a sentimental moment pass by, e.g, Lennie's Christ-like innocence, inappropriate super-human strength which inadvertently wreaks havoc resulting in his euthanasia with the same instrument as used for Curley's dog, these scenes are never maudlin. Too, for the serious Steinbeck fan, there's more, much more. This story, and the play, created at Steinbeck's most experimental period, is fraught with symbolism. There's the "big" guy, a victim of the "little" guy's vanity. Many are not aware that Steinbeck was small (5'3") and very self-conscious about his size. The cast is outstanding: Betty Field's careless and bored character, Mae contrasts with the mighty innocence of Chaney's Lennie. There are the solid characters of Bickford's Slim, Meredith's George and Bohnen's Candy; Steele was at his best as the vain, pugnacious Curley; Veteran character actor, Noah Berry Jr. as Whit adds another element of sympathy. This is one of our American classic films. We invented and developed this genre of art and this film must stand as one of its finest examples.
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