Wyoming, early 1900s. Butch Cassidy and The Sundance Kid are the leaders of a band of outlaws. After a train robbery goes wrong they find themselves on the run with a posse hard on their heels. Their solution - escape to Bolivia.
George Roy Hill
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
Won John Ford his second consecutive Oscar, thus making him the first director to win back to back Oscars. See more »
When the Joads pull over to fix a flat on their truck they stop in a small depression that leans the truck to the left. In the very next shot the truck is in a different spot and leaning to the right. See more »
[the family is leaving the farm, heading for California]
Ain't you gonna look back, Ma? Give the ol' place a last look?
We're going' to California, ain't we? All right then let's go to California.
That don't sound like you, Ma. You never was like that before.
I never had my house pushed over before. Never had my family stuck out on the road. Never had to lose everything I had in life.
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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 »
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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