Tag Archives: Jo Van Fleet

Wild River (1960, Elia Kazan)

Director Kazan opens Wild River with newsreel footage of the Tennessee River at flood. The film is set in the 1930s, something else the newsreel footage establishes. Kazan and screenwriter Paul Osborn spend the least amount of time possible setting up the film. The newsreel takes care of setting, when lead Montgomery Clift starts his new job, he talks to his secretary, taking care of ground situation. River’s quick start lets Kazan fill every minute of the film.

The Tennessee River floods and the dam Clift’s federal employee is in town to build are barely subplots by the end of the film. They’re details, because it turns out–even though the ground situation’s established–River is more about what happens after Clift decides to poke around in it (since he’s new). That poking around leads to Clift meeting Lee Remick and Wild River is really their relationship and how it affects, and is affected, by the events occurring around them.

There are subplots with Remick and Jo Van Fleet (as her grandmother, who won’t leave her land), Van Fleet and Clift and then Clift and his forced desegregation of the town. Osborn and Kazan never force anything dramatically; the film has a very specific setting, geographic and in time. What could be melodramatic shortcuts are instead sublime, sometimes painful details.

The acting’s amazing–Clift, Remick, Van Fleet. Remick’s probably the best.

Ellsworth Fredericks’s photography and Kenyon Hopkins’s music also exceptional. And Kazan nails every shot.

Wild River is superior.

4/4★★★★

CREDITS

Produced and directed by Elia Kazan; screenplay by Paul Osborn, based on novels by William Bradford Huie and Borden Deal; director of photography, Ellsworth Fredericks; edited by William Reynolds; music by Kenyon Hopkins; released by 20th Century Fox.

Starring Montgomery Clift (Chuck Glover), Lee Remick (Carol Garth Baldwin), Jo Van Fleet (Ella Garth), Albert Salmi (Hank Bailey), Robert Earl Jones (Sam Johnson), Jay C. Flippen (Hamilton Garth), James Westerfield (Cal Garth), Big Jeff Bess (Joe John Garth), Judy Harris (Barbara Baldwin), Barbara Loden (Betty Jackson) and Frank Overton (Walter Clark).


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The King and Four Queens (1956, Raoul Walsh)

Clark Gable is an exceptional movie star. I’m not sure how good of an actor he is–his performance in The King and Four Queens is not, for instance, nuanced and textured, but he carries it from the first minute. Movie stars today–the ones who can act–rarely carry their “fluff” roles (I’m thinking of Nicolas Cage in particular). Gable does such a good job carrying the film, entertaining the audience, it’s very easy to overlook all the problems with King and Four Queens.

He’s not alone… both Eleanor Parker and Jo Van Fleet are great too. Van Fleet is given a fuller character to work with but Parker and Gable’s scenes are nice too. Parker holds up against him in these scenes, which are quite good. The film’s pacing is completely off–it’s a small story (and a short film, eighty-two minutes)–mostly because the other three actresses are light. None of them, except maybe Jean Willes, are bad, they just don’t hold up against Gable and Van Fleet. Even so, some of those scenes are very entertaining. On the scene-level, The King and Four Queens has a great script… it’s just in the whole package, there are significant pacing problems.

I know a little about the making of the film–there were significant cut scenes and it’s the only production from Gable’s company, Gabco. Even with the unsatisfying conclusion, it’s an enjoyable experience. I haven’t seen a post-war Gable film since the last time I saw this one (maybe six years ago) and it’s incredible how well he carries the film. The title–probably giving away his role as producer–refers to MGM’s title for Gable in the 1930s, “The King of Hollywood.”

The film comes on TCM every once in a while in a watchable, but visibly unrestored print. This print’s widescreen, however, and I can’t imagine seeing it pan and scan (though I once did). Raoul Walsh likes to move his camera and hold his shots. He’s another of the film’s pleasant surprises.

2.5/4★★½

CREDITS

Directed by Raoul Walsh; screenplay by Margaret Fitts and Richard Alan Simmons, based on a story by Fitts; director of photography, Lucien Ballard; edited by Howard Bretherton; music by Alex North; production designer, Wiard Ihnen; produced by David Hempstead; released by United Artists.

Starring Clark Gable (Dan Kehoe), Eleanor Parker (Sabina McDade), Jean Willes (Ruby McDade), Barbara Nichols (Birdie McDade), Sara Shane (Oralie McDade), Roy Roberts (Sheriff Tom Larrabee), Arthur Shields (Padre), Jay C. Flippen (Bartender) and Jo Van Fleet (Ma McDade).


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THIS FILM IS ALSO DISCUSSED IN SUM UP | ELEANOR PARKER, PART 2: TECHNICOLOR.