Das grüne Korn

Definately a must see! Davis's performance was remarkable, subdued but full of emotion and depth without over acting. The actor playing Morgan Evan's is very remarkable being his first film. He and Davis exchange witty banter that makes you appreciate both actors without taking any of the lime light away from the other. The characters were complex and showed facets of ourselves. This movie really makes you think. It's my favorite Davis picture. The themes were very mature and ahead of their time. It's sort of like a early Peyton Place!

Bette Davis offers an interesting, more restrained performance than usual as Miss Moffat, the schoolteacher determined to help a brilliant student (John Dall) reach his full potential. Although handsomely photographed, the film has the look of a photographed stage play with its studio-bound outdoor sets--but the performances are all so vibrant that they become more important than any other ingredient.

John Dall is excellent in what was his first major role, as is Joan Lorring as Bessie (the girl who takes his mind off his studies). Nigel Bruce, Mildred Dunnock and Rosalind Ivan create fully rounded performances under Irving Rapper's sensitive direction. But it is Davis, of course, who holds the spotlight with one of her most tasteful performances--intelligent and yet full of feeling and emotion.

As I said earlier, all of it shows its stage origins and the singing of the Welsh miners is a bit too perfect for reality--but the film is both entertaining and thought-provoking, dealing as it does with some serious issues. Ahead of its time, in its out-of-wedlock theme.

This fully vibrant adaptation of Emlyn Williams' successful stage play is at its best in its first half-watching Bette Davis sweep into a tiny town in the Welsh countryside and take over with her new world ideas makes you so grateful to see such a strong female character in such an old film (truth be told, seeing a strong woman was highly more likely in a wartime film in the forties, as opposed to the post-war-prosperity fifties when women were either Sandra Dee or Donna Reed). John Dall stars as the miner who turns out to be quite gifted in scholastic abilities, whom Davis pushes to reach for the stars academically. The second half of the film, which concerns itself with Dall's trying for Oxford and dealing with a few ‘domestic' problems, isn't as invigorating as the first, but on the whole it's a beautiful experience of a film, and one of the few Hollywood films of its time to accurately (if broadly) show a foreign culture and its common people. Remade with less success as a telefilm in 1979 with Katharine Hepburn and directed by George Cukor.

By now, Bette Davis was having her pick of the type of movies she wanted to make and was known to sacrifice looks for parts that were meaty and difficult. Playing Lily Moffatt must have been a breeze for her, because it allowed her to eliminate all of her grandiose trademark gestures, act in a more paused, restrained way, and let the character's own energy flow out of her and thus dictate how it wanted to convey itself on screen.

Acting against newcomer John Dall she comes off as an equal instead of the experiences actress she by then was: she allows Dall to express himself quite strongly, although at times his Welsh accent wavers in and out. It's too bad, however, that despite this strong debut, Oscar nominated for Supporting Actor, which was followed by ROPE and GUN CRAZY, Dall practically had nothing to hold onto when it came to movies and disappeared for the majority of the Fifties, returning only for SPARTACUS and a smattering of other films.

It's too bad, but one of the many stories of brief careers that make their mark in one or more movies. Speaking of which, Joan Lorring was another actress who took her role and ran with it. For her acting she was awarded, like Dall, a Supporting Actress nomination, but was little seen after 1948. If it weren't for this footnote in her career she'd be all but a forgotten supporting actress; she manages to eclipse Davis in two scenes in the movie, and her exit is also memorable.

Davis probably didn't get a nomination because by now it seemed she could phone in her emotions and play this kind of role in her sleep. Even so, it's a very good role, very understated, not very well remembered (except by her hardcore fans), and the last hit she would have because from 1946 on her movies would start losing money and be of varying quality, that is, until her great comeback as Margo Channing in ALL ABOUT EVE.

This was a late-night tv surprise. The Corn is Green is a highly engaging drama. Bette Davis is good as the well-intentioned, well-meaning but not always successful social engineer and pioneer in adult education, set in a rural Welsh mining town. A surprisingly 'modern' film for its release date with regard to its frankness about out-of-wedlock pregnancy. There was a good deal of Welsh language banter and phrases peppered throughout the film, despite the story's bias against Welsh in preference for the male lead receiving a 'proper' education in English. The film cannot be faulted for its expression of negative attitudes toward the indigenous language of Wales since minority languages were viewed as a detriment to progress in the modern world at the time. We know better now, but much damage has been done to the likes of the people depicted in the Welsh mining town of the Corn is Green, surrounded by a larger culture bent on their assimilation. This is an entertaining and near-tragic story which made me think.