Following World War II, a northern cannery combine negotiates for the purchase of a large tract of uncultivated Georgia farmland. The major portion of the land is owned by Julie Ann Warren ...
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Efrem Zimbalist Jr.,
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Following World War II, a northern cannery combine negotiates for the purchase of a large tract of uncultivated Georgia farmland. The major portion of the land is owned by Julie Ann Warren and has already been optioned by her unscrupulous, draft dodging husband, Henry. Now the combine must also obtain two smaller plots, one owned by Henry's cousin Rad McDowell, a combat veteran with a wife and family. The other by Reeve Scott, a young black man whose mother had been Julie's childhood Mammy. But neither Rad nor Reeve is interested in selling, and they form an unprecedented black and white partnership to improve their land. Although infuriated by the turn of events, Henry remains determined to push through the big land deal, and when Reeve's mother Rose dies, Henry tries to persuade his wife to charge Reeve with illegal ownership of his property, confident the bigoted Judge Purcell will rule against a Negro.Written by
The National Catholic Office of Motion Pictures gave the movie a "C" (condemned) rating. Their review said "Superficial and patronizing in its treatment of racial attitudes and tensions, this melodramatic depiction of life in a small Southern town during the 1940s, is also prurient and demeaning in its approach to sex." See more »
In one scene, as the camera pans down the street, a later model Ford is in a carport. See more »
[Rose is expecting Julie to pay her a visit]
Lor' Almighty, there she is!
[A black friend enters with her grandfather]
Shucks. An' we thought it was white folks!
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Lousy Otto Preminger film from K. B. Gilden's bestseller (adapted by Thomas C. Ryan and, of all people, Horton Foote!) concerns a greedy white land-owner in Georgia planning to dupe his wife's black guardian and her sharecropper husband out of their real estate, setting off a race war. Everyone is here, from Faye Dunaway to Brady dad Robert Reed, but the script is such a mess--and Preminger is so ham-handed--that nobody survives "Sundown" without looking foolish. Jane Fonda flirts with husband Michael Caine using his saxophone (!) while Beah Richards pantomimes a heart attack as if this were a stage-play. Preminger goes out of his way to make the rich whites despicable and the black folk saintly and reasonable--so much so that the picture might have started its own race war in 1967 (probably the exact type of controversy the director wanted). It certainly gave work to many underemployed, sensational actors like Madeleine Sherwood, Diahann Carroll, Rex Ingram and Jim Backus, but results are laughable. *1/2 from ****
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