A man shows up at Kimberley Prescott's villa claiming to be her brother. But Ward Prescott died in a car accident a year ago, so how can this man be him? Despite Kim's protests that the ... See full summary »
The life and career of Heavyweight Champion Joe Louis, who held the title for 12 years--longer than any other boxer in history--and who had to not only battle opponents inside the ring and racism outside it.
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Charles Marquis Warren
A man stumbles out of a car crash with no memory of what transpired. Everyone who he meets suggests that he is a ruthless man with an aggressive temper. Could he be deliberately blocking ... See full summary »
Yesterday Jim Molner was an ordinary guy. Today he's a desperate man, frantically trying to save himself and his family, held hostage by a demented terrorist who's demanding $500,000 not to... See full summary »
Over-the-hill boxer Bill 'Stoker' Thompson insists he can still win, though his sexy wife Julie pleads with him to quit. But his manager Tiny is so confident he will lose, he takes money ... See full summary »
If one didn't know beforehand who directed this film (which proved to be Renoir's U.S. debut), he would be excused for thinking it was made by John Ford - given the presence of a good number of his stock company of actors (Walter Brennan, John Carradine, Ward Bond, Russell Simpson) and the music score utilizing themes from THE GRAPES OF WRATH (1940), which was also a 20th Century-Fox production! Still, Renoir's uniquely humanist outlook is unmistakable - which is only betrayed by the one-dimensional Tweedle-Dee/Tweedle-Dum pairing of Bond (here practically duplicating his villainous role in Ford's YOUNG MR. LINCOLN ) and Guinn Williams.
An altogether impressive production, with the overpowering atmosphere of the Okefenokee beautifully captured by Renoir and veteran cinematographer Peverell Marley (despite some obvious back-projection); the use of shadowy lighting is especially striking. Its concern with realism also extends to some rather physical violence for the time and a couple of unnerving scenes involving prowling alligators and snakes! Consequently, the film is vastly underrated in the director's canon (especially having now watched all his American features). While it may have served as a sort of dry run for Renoir's own THE SOUTHERNER (1945), the film also looks forward to INTRUDER IN THE DUST (1949) - which, similarly, dealt with a miscarriage of justice.
With regards to casting, I don't agree with Leonard Maltin who felt that Walter Brennan's fugitive constituted "bizarre miscasting" (certainly no more than his uncharacteristic if brilliant turn as Old Man Clanton in Ford's MY DARLING CLEMENTINE ): despite receiving top billing, he appears very little but his presence permeates the entire film. Walter Huston is never less than good in anything he does, but his gruff patriarch here isn't all that central to the plot; interestingly, the actor later appeared in a film by another expatriate French director - Rene' Clair's AND THEN THERE WERE NONE (1945). Conversely, Dana Andrews makes quite an impression as his rebellious but subsequently heroic young son - and this film must surely have put him on his way to becoming a veritable leading-man. The film also has Andrews forsaking egotistical village belle Virginia Gilmore for the raggedy but radiant Anne Baxter (whose real identity has been shielded from most of the community). To spite Andrews, the former takes up with another man: the actor's face was familiar to me but I couldn't quite place it, that is, until I saw his name during the end credits - it was none other than Matt Willis, who would go on to play Bela Lugosi's werewolf acolyte in THE RETURN OF THE VAMPIRE (1944)! Similarly, Huston's young bride (played by Mary Howard) is pursued by an atypically meek, almost pitiful Carradine - though it later transpires that he was involved in Brennan's framing!
Surely one of the film's most endearing aspects is the unconditional love shown by both Andrews and Brennan to the former's wayward dog, hence the name of Trouble (which even occupies the film's very last shot via a well-deserved close-up!). As for the attractively-packaged DVD itself, the overall quality of the film's transfer was acceptable (though print damage was evident on occasion); I don't usually buy bare-bones discs, but the very reasonable price-tag and the fact that this rarely-screened film is as yet unavailable on R1 made the purchase virtually a no-brainer - and it has certainly made me game to pick up some more exclusive R2 stuff, above all the SE of Lewis Milestone's war drama THE PURPLE HEART (1944), also featuring Dana Andrews and a film I missed out on during my tenure in Hollywood...
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