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Norman Z. McLeod
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During the Civil War, two of the oldest families in Kentucy,the Dillons and the Goodwins, begin a long and bitter feud that has lasted into 1938. When Jack Dillon refuses to enter his father's banking business he,under an assumed name, gets a job as a trainer in Sally Goodwin's stables. A romance develops between them. When Sally's father dies, the entire estate---including the horses---has to be sold at auction to pay his debts. A note turns up left by Sally's father that according to a wager made between him and the elder Dillon, any one horse in the Dillon stable can be claimed by the Goodwins. Complications arise when Sally finds out that Jack is a Dillon.Written by
Les Adams <email@example.com>
The Yankee ransacking prelude more or less spells out the eventuality that years later Young is going to fall for Greene and that their respective families are going to trample the path of true love. Quite literally, as the updated story is now played out against a bluegrass background.
Get yourself into Hollywood mode and dispense with the logistics of script and story, and instead enjoy everything else. The performances, even though they embody strictly cliché and (predictably racial) caricature, are still marvellous for those who love a Fox-style wallow - Brennan won that year's Best Supporting Actor Oscar. The film is generally well and pacily edited, and the racing sequences are particularly exciting.
The real star of this show though, for me, was the sublime photography which I can honestly say offered the most richest and well-preserved example of pre-40s 3-strip Technicolor I have so far seen. Even after more than 50 years, its luminescence (at least in this Channel 4 print) was breathtakingly striking and full of lustre, with yellow in particular registering far more strongly than I have previously seen in a 30s Technicolor movie, and natural outdoor verdance looking as if it had been sprayed with kiwi fruit dye. No doubt deployed deliberately to enhance the otherwise routine nature of the story, it would still take a considerable kick of horsepower to elevate the film to the grandeur of, say, 'Gone With The Wind', to which it bears more than a passing dramatic resemblance.
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