In the 1950s, a poor Georgia cotton farmer and his sons search for the gold presumably buried on the farm by their grandfather but problems related to poverty, marital infidelity, unemployment and booze threaten to destroy their family.
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A poor farmer is obsessed with finding gold on his land supposedly buried by his grandfather. To find it he conveniently moves a marker out of his way that designates the land on which it rests as as God's Little Acre, where anything that comes from the ground will go to God's work. Eventually he abducts an albino to help him find the gold. Meanwhile, his daughter-in-law is suspected of fooling around with a labor activist out of work since the mill closed, and a local political hopeful actively seeks his daughter's hand in marriage. Written by
Ed Sutton <email@example.com>
Second-billed Aldo Ray does not show up until 30 minutes into the film. See more »
Pluto gets a shovel full of dirt thrown in his face. His face is covered in dust and dirt. Moments later his face is completely clean. See more »
Mr. Ty Ty, you oughta' be out raisin' cotton. You're a good farmer - that is, you USED to be. Why, Mr. Ty Ty, you can raise more cotton on this land in one season than you can find gold in a whole lifetime. It's a waste of everything, Mr. Ty Ty, diggin' them holes all over the place.
Ty Ty Walden:
Well, now, I wish I had spent a little more time on the cotton, that's for sure. If I had 20 or 30 bales to tide me over the fall and winter, I could devote all the rest of my time to diggin'!
But Mr. Ty Ty, ...
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What this and "Tobacco Road," Erskine Caldwell's other magnum opus, have in common is a portrait of the Deep South as populated by a people with a collective IQ of about 50. There's Robert Ryan as the clueless patriarch convinced that his granddaddy buried gold treasure on his land; he's a God-lovin' cuss but a hypocrite, forever changing his life rules to accommodate his avarice. There's Buddy Hackett (of all people) as a sheriff candidate who can't even paint an "N" correctly, in love with one of Ryan's nubile daughters. Characters have names like Ty Ty and Darlin' Jill, to make them more folksy, I guess, and the themes are greed and lust, most particularly between Tina Louise (the camera lovingly caressing her breasts at every turn) as Ty Ty's sassy daughter-in-law, desperately craving her brother-in-law, Aldo Ray. Tina Louise was sho' 'nuff all woman, and Aldo Ray all man, and I'll long remember their encounter at the water pump. The characters' collective idiocy gets on one's nerves, and the various conflicts resolve themselves entirely unconvincingly, but it's not a total loss. Ernest Haller's handsome black-and-white widescreen photography does capture the heat and grime of the cotton fields, and Elmer Bernstein's score is very good fake Copland.
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