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Spring Night, Summer Night (1967)

 -  Drama  -  23 September 1970 (USA)
8.0
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Ratings: 8.0/10 from 6 users  
Reviews: 1 user | 1 critic

Jessica, the eldest daughter of a coal miner-turned-farmer, has a fling with her half-brother Carl, which complicates things more when she becomes pregnant.

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Title: Spring Night, Summer Night (1967)

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Cast

Cast overview:
Larue Hall ...
Jessica
Ted Heim ...
Carl
Marjorie Johnson ...
Mother (as Marj Johnson)
John Crawford ...
Father
Tracy Smith ...
Jessica's Sister
David Ayres ...
Gas Station Owner
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Storyline

Jessica, the eldest daughter of a coal miner-turned-farmer, has a fling with her half-brother Carl, which complicates things more when she becomes pregnant.

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Curiously Different

Genres:

Drama

Certificate:

R
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23 September 1970 (USA)  »

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Jessica  »

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User Reviews

 
astounding, little-seen masterpiece of independent cinema
27 February 2006 | by (Braintree, MA) – See all my reviews

Here's a film richly deserving of wider exposure. Can't someone pick it up for distribution? It's been described as "the missing link between THE LAST PICTURE SHOW and SHADOWS", which isn't quite on the mark. I think a better pair comparison could be made between the early semi-documentary films of Willard Van Dyke and Pare Lorentz and SHADOWS, due to the casting of unknowns and non-actors in all roles.

Seen nationally in 2005 as part of the Rural Route Film Festival (under the title SPRING NIGHT, SUMMER NIGHT), this film manages to focus on the taboo topic of incest without being sensational in the slightest, and that's only one of its amazing facets. A stark, black and white drama set (and filmed) entirely in southeastern Ohio, amidst the farms, gas stations, bars and simple homes of the area, it's filled with beautiful and memorable photography. This is not a "verité"-type outing of the "DAVID HOLZMAN'S DIARY" variety at all, but an extremely nuanced, melancholy tale of two lovers who may or may not be brother and sister (depending on which story they believe from which parent) with stunning set pieces on foggy hills, in musty barns, dimly-lit dinner tables, on dusty roads. Intensely moving and superbly acted, it feels nearly perfect and is a total anomaly for late-1960s independent cinema, so often considered an urban-based art form.


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