#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – A young field administrator for the TVA comes to rural Tennessee to oversee the building of a dam on the Tennessee River. He encounters opposition from the local people, in particular a farmer who objects to his employment (with pay) of local black laborers. Much of the plot revolves around the eviction of an elderly woman from her home on an island in the River, and the young man’s love affair with that woman’s widowed granddaughter.
Plot: A young field administrator for the TVA comes to rural Tennessee to oversee the building of a dam on the Tennessee River. He encounters opposition from the local people, in particular a farmer who objects to his employment (with pay) of local black laborers. Much of the plot revolves around the eviction of an elderly woman from her home on an island in the River, and the young man’s love affair with that woman’s widowed granddaughter.
Smart Tags: #national_film_registry #southern_gothic #iris_shot #voice_over_narration #past #river #tennessee #island #octogenarian #eviction #dam #rural_setting #mississippi_river #reference_to_franklin_d._roosevelt #old_woman #third_person_narrator #year_1933 #small_town #barber_shop #plow #racist
|7.6/10 Votes: 5,191|
|7.4 Votes: 58 Popularity: 3.818|
A masterpiece of American cinema.
I found this little gem to be an exquisite piece of ensemble work by some of the best screen actors to ever to be in front of a lens. Elia Kazan impeccable direction and a performance by Jo Van Fleet that could be a learning tool for some of these putrid so-called actress that now are being lauded as the neo-contemporary actress’s of the day. When you see a film of this artistic magnitude you can easily understand the dumbing down process of the American cinematic media. Not one of the so-called stars of today could measure up to Lee Remicks complex and sensitive portrayal of Carol in Wild River. Montgomery Clift an actors actor , there will never be another. A master of controlled raw emotion and body language. Gone are the days indeed when this kind of movie production will return. Not special effects or remake after loathsome remake or some equally obnoxious star or starlet will match this cinematic jewel.
In the wilds of Tennessee the old ways die and ‘progress’ triumphs
This is a magnificent film, one of Elia Kazan’s finest. Apparently it was his personal favourite Unfortunately, its one weak point is in the casting of Montgomery Clift. Because of this, the film does not equal Kazan’s other masterpieces ON THE WATERFRONT (1954), BABY DOLL (1956), or SPLENDOUR IN THE GRASS (1961) in all of which the casting was perfect, or America America (1963, also known as THE ANATOLIAN SMILE), in which the passion of the young male lead Stathis Giallelis swept all before him in a wave of overwhelming emotion. (I must be one of the few people left who knew Stathis, as he never managed to carve a subsequent career for himself, despite all that Harold Loeb at the Warner Brothers New York office, whom I knew well at that time, did to help him. I never knew why Harold dropped out of films in 1970, having produced SOLDIER BLUE with Cappy Bergen. He died in 2003.) This features what was probably the finest performance given by Lee Remick in her remarkable career, although she had to struggle against the unresponsive Clift, with whom there was no chemistry whatever because he was not only gay but a confirmed masochist (whereas the part called for someone rather different, to say the least). In this film, Clift shows the emotional responsiveness of a rotting log. But Remick is glorious, transcendent in her performance, and she simply acts her way around him, ignoring the fact that he is asleep on the job. The other incredible performance in this film is by the elderly actress Jo van Fleet, in one of her finest roles. Both she and Remick delivered Oscar-level performances, and the direction was of that quality as well. The script by Paul Osborn was excellent despite the challenge of being derived from two separate novels by two different writers. Osborn had worked with Kazan before, having written the screenplay for EAST OF EDEN (1955), another ‘impossible task’ of adaptation. This film is a testament to the pioneer spirit which made America great. It is typified by the old matriarch Jo van Fleet, who refuses to leave the family property on an island in the Tennessee River despite a compulsory purchase by the federal government who have constructed a dam in the 1930s through the much-hated TVA (Tennessee Valley Authority). I remember Tennesseans ranting and foaming at the mouth about the TVA throughout the 1950s and into the 1960s. It was one of Roosevelt’s biggest political power plays, whereby he broke down the rights of the states in favour of creating a dominant federal government which could override any local obstacle at will. This massive centralization of power in Washington used as its pretext the taming of the Tennessee River in order to prevent disastrous floods. But the locals knew what it was really all about. As one character says in this film, 98% of the population of the Tennessee River Valley were without electricity at that time. This was really about creating a situation where power companies could sell them electricity generated by hydroelectric power on their own land which had been seized from them with inadequate compensation, and it was also about the huge sums earned by out-of-state construction companies for constructing the dams, and paid by tax money taken from, amongst others, the inhabitants of Tennessee. In other words, it was about money, corruption, and power, and not about floods at all. In that respect it resembled the Civil War, which was not at all about slavery, as the slavery issue was falsely used as a cloak by the North to cover its commercial motives. (The slaves were all bought and traded by Northerners, who are the ones who made all the money from the disgusting slave trade. Georgia and South Carolina banned the slave trade as early as the 1830s, a quarter of a century before the Civil War. But this is all covered up in the history books of today, in favour of distorted propaganda which suits contemporary political motives.) This film was deeply unpopular with a certain class of Northerners, but welcomed in Tennessee and neighbouring states as something which at least approached a sympathetic treatment of their plight. Lee Remick looks very much like one of those gals, of whom I have seen so many, who lived in the wilds of Appalachia. This is ironic, since she came from Massachusetts. But she has the right haunted look, lean face, and intensely sensuous quality. She does moderately well with her accent, though there are few people in the film who really ‘speak Tennessee’. The film is made on location, and is highly authentic, with the Hiawasee River standing in for the Tennessee River as it was before the dams were built. Most of the filming was in Bradley County. Kazan was no purveyor of Hollywood fantasies, he was always after the true grit. He may well have been America’s greatest film director of all time. The fact that he was so violently hated by the victims of McCarthy should not be allowed to detract from a proper evaluation of his genius and compassion. One of the finest aspects of this film is its warmly sympathetic portrayal of the blacks (called ‘Negroes’ at that time), and especially the character Sam played by Robert Earl Jones. The amusing and devoted friendship between Jones and Jo van Fleet is portrayed with wonderful finesse and subtlety. Ellsworth Fredericks provides beautiful and lyrical cinematography, as he had earlier done for FRIENDLY PERSUASION (1956), greatly adding to the lustrous feel and texture of this tale set in the wilds of the South. The struggle between the forces of ‘progress’ and Jo van Fleet’s desire not to leave the land that her family had lived on for several generations, with her granddaughter Lee Remick being caught in the middle, makes this a truly epic American saga.
Original Language en
Runtime 1 hr 50 min (110 min), 1 hr 52 min (112 min) (Argentina)
Rated Not Rated
Genre Drama, History, Romance
Director Elia Kazan
Writer Paul Osborn, William Bradford Huie, Borden Deal
Actors Montgomery Clift, Lee Remick, Jo Van Fleet
Country United States
Awards 2 wins & 2 nominations
Production Company N/A
Sound Mix Mono (Westrex Recording System), 4-Track Stereo
Aspect Ratio 2.35 : 1
Laboratory DeLuxe, Hollywood (CA), USA (color)
Film Length 3,009.6 m
Negative Format 35 mm
Cinematographic Process CinemaScope (anamorphic)
Printed Film Format 35 mm