The Joad clan, introduced to the world in John Steinbeck's iconic novel, is looking for a better life in California. After their drought-ridden farm is seized by the bank, the family -- led by just-paroled son Tom -- loads up a truck and heads West. On the road, beset by hardships, the Joads meet dozens of other families making the same trek and holding onto the same dream. Once in California, however, the Joads soon realize that the promised land isn't quite what they hoped.Written by
Woody Guthrie was an uncredited musical consultant for the film, selecting "Goin' Down the Road Feelin' Dead" for use in the picture as a typical Okie song. See more »
As Tom walks across the dance floor after saying goodbye to his mother his shadow goes to his left. When the point of view changes, the shadows are perpendicular to this, coming from behind his mother. See more »
What's the matter, Grandpa?
What's the matter? There's nothin' the matter. I just - I just ain't goin', that's all.
What you mean you ain't goin'? We got to go. We got no place to stay.
I ain't talkin' about you. I'm - I'm talkin' about me! I give'r a good goin' over all last night, and I'm a-stayin'!
But you can't do that, Grandpa! This here land's goin' under the tractor. We all got to get out.
All except me, and I'm stayin'!
What about Grandma?
Take her with ya!
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International distributions (e.g. UK) have a short ~30 second prologue at the beginning to explain the historical context to the story to touch on the socio-economic problems in the US which arose during the Great Depression and the concurrent Dust Bowl. See more »
A Tisket, A Tasket
Background music during the first scene See more »
A marvellous production of Steinbeck's epic.
Henry Fonda's portrayal of Tom Joad captures perfectly the humanity and compassion of the Steinbeck character, an ex-con who breaks his parole conditions by joining his family in their epic journey across the southern US to a "better life" in California.
This is not the usual Hollywood fare. Tragedy and betrayal beset the Joad family from the outset. But it is nonetheless an uplifting movie. Spirit, compassion and tenderness mark them out. Fonda's role is particularly understated, and we see, as in Steinbeck's masterly epic, the maternally robust figure of Ma holding the family together.
The performances all round are wonderful, and Ford's direction and sense of space under the big sky of the Midwest is breathtaking.
This film is now largely a testament to the time in which it was set, but like the war movies that were soon to follow, a story that needed telling lest we forget.
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