A young field administrator for the TVA comes to rural Tennessee to oversee the building of a dam on the Tennessee River. He encounters opposition from the local people, in particular a ... See full summary »
A young field administrator for the TVA comes to rural Tennessee to oversee the building of a dam on the Tennessee River. He encounters opposition from the local people, in particular a farmer who objects to his employment (with pay) of local black laborers. Much of the plot revolves around the eviction of an elderly woman from her home on an island in the River, and the young man's love affair with that woman's widowed granddaughter. Written by
Sam Neff <firstname.lastname@example.org>
Elia Kazan was always fond of this movie and sometimes even said it was his favorite of all the films he made. In the 1970s he tried to buy the rights so that he could re-release it to the public, but the studio's asking price was too high for him. See more »
The last part of the movie shows Fontana Dam. For some reason this picture has been reversed - the observation area is actually on the right of the dam not the left (creek side of dam). Also the last picture is not this dam. Fontana Dam is built straight where the last dam is curved. See more »
[Referring to his drunkenness]
I apologize for the other night.
First and only time I ever liked you!
[Slams the door in his face]
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This is a most remarkable film, chronicling a piece of Americana and presenting a compelling image of the tragedy of progress. And it is Jo Van Fleet whose utterly convincing and captivating portrayal of an 80-year old hillbilly woman (she herself was 45 years old) makes WILD RIVER a masterpiece. To reiterate what others have stated, the fact that her performance was not even nominated for an Oscar is an outrage! I tend to disagree with other reviewers in regards to the subplot between Monty Clift and Lee Remick; I feel their scene slow things down and I find myself fast-forwarding past them to get to the match of will between Clift and Van Fleet. I do, however, understand the necessity of the Chuck/Carol love affair - here you have a stubborn old woman who simply refuses to leave her lifelong home and a sensuous young woman who simply begs to get out! And Monty Clift becomes nemesis and savior. But their scenes together are a total yawn when the good stuff involves the reason Clift is there to begin with - not just his cat-and-mouse with Van Fleet, but all the other obstacles he faces from the rest of the populace of the rural south in the 1930's.
Still, an incredible film and worth viewing over and over again.
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