Gottes kleiner Acker

Apparently, when "God's Little Acre" first came out, much of it was cut for the theatrical release. Watching the unedited version, one can see why (needless to say, it's all pretty tame to us in the 21st century). Part of it is Tina Louise's very presence - I mean, what man wouldn't want to be stranded on an island with Ginger Grant? - but there's also a scene where Buddy Hackett works a pump for a woman in a bathtub (if that scene isn't a double entendre, then I don't know what is!).

As for the movie itself, this story of a Georgia farmer (Robert Ryan) getting convinced that thar's gold in them thar holes in his garden does quite well. The idea of him tearing up his garden is an effective parallel for how the family gets torn up in the process. As for his friendship with the African-American guy, it's probably debatable whether they were sugar-coating race relations, or if they were encouraging tolerance. There could even be debates about how the movie portrays the South in general (the characters do come across as hicks).

But overall, I recommend this flick. Usually, it would sort of weaken the movie to know that some of the cast members later became famous on TV shows - especially since one was known for seducing romantically incompetent men on a certain island - but they all do very well here. This is certainly a movie worth seeing. And the theme song will probably get stuck in your head. Also starring Aldo Ray, Jack Lord, Fay Spain, Vic Morrow and Michael Landon.

I saw this movie soon after it was released when I was seventeen. Recently, I caught it again on late night TV; now, over fifty years later, I still count this one as one of the most interesting collection of oddball characters ever put to film. And all wrapped up in a timeless story about human frailties, family values and impossible dreams.

Without doubt, this is the film that launched Tina Louise's lacklustre career into a series of B-movies of the late fifties and early sixties, followed by seemingly endless appearances in mindless TV drama and sitcoms over the next thirty-five years. What a shame: because I think her debut film role as Griselda Walden set a new standard for the term 'sex appeal' – and once seen, never forgotten, especially her first appearance with sunlight behind her, outlining her entire body through her thin, cotton shift. So, see this film for Tina Louise in action, if for no other reason.

Erskine Caldwell's whole story is definitely worth watching, however. Actually, there are a number of stories beginning with old man Ty Ty Walden (Robert Ryan) and his fifteen-year, frenetic search for his grandfather's gold, supposedly buried somewhere on his farm: with that underlying scenario, Caldwell satirically skewers the lust for wealth that trap too many of us in ephemeral dreams which blind us to the reality around us. Robert Ryan gives his all, in what I regard as one of his best roles.

Interwoven with Ty Ty's quest, we see unfold the bodily lust that Will Thompson (Aldo Ray) has for Griselda, the wife to embittered and jealous Buck Walden (Jack Lord). When Will has the hots for Griselda on a feverish summer night, and they stand in darkness, fingers entwined, at the corner of the house, sweat steaming off their bodies, you see one of the finest pieces of bodily eroticism ever put to film – and an image that's still used today, as the above poster on this page shows.

The lust for power is given its comic turn with Sheriff wannabe Pluto Swint (Buddy Hackett) trying to get votes from all and sundry. With a name like Pluto – on the edge of society physically, mentally and emotionally – how far can he get? Well, he's also pining for the hand in marriage of Ty Ty's other daughter, Darlin' Jill (Fay Spain). With Pluto, Darlin' Jill pulls off an open-air, erotic bathtub scene that must be seen for its bawdy humor and Freudian overtones. Not to be missed...

Wrap all that around Will Thomspon's efforts to power up the bankrupt local cotton mill again, add Ty Ty's visit to his only financially-successful son (to ask for money), Jim Leslie (Lance Fuller), and you have a succession of vignettes that pretty much cover the whole gamut of what it means to be human. Watch for very young Michael Landon (as the albino) and Vic Morrow (as Shaw Walden). Happily, with such an interpersonal imbroglio to appreciate fully, the cast fully delivers. Some argue it's over the top; and so it is, because it's mostly social satire.

One puzzlement: the mise-en-scene looks and feels Depression era, but the presence of mid-1950s autos belies that. One wonders if that was a deliberate ploy by the producer and director. The black-and-white photography is exquisite; the sound track is appropriate, given the social milieu of the times, but I could do without it.

Overall, it's a classic film which, despite winning no awards, should still be seen by all film lovers.

I have to weigh in on the errors in alicecbr's review, since it's featured here on IMDB. I refer to the first paragraph. Robert Ryan wasn't in "Seven Days in May." And there's no lecture in that movie about women sucking juices out of soldiers. The closest thing I can think of is Sterling Hayden in "Dr. Strangelove," who tells Peter Sellers about the Commie plot to sap and impurify our bodily fluids by fluoridating the water. Nothing in it about women, though, just Commies. I'm voting it...unhelpful!

Underrated actors Aldo Ray and Robert Ryan are outstanding in this eccentric bit of Americana from the novel by Erskine Caldwell, which was banned in some towns. The setting on the farm with random holes and piles of dirt is almost surreal in appearance. And there's Tina Louise, and Little Joe Cartwright plays an albino.

What this and "Tobacco Road," Erskine Caldwell's other magnum opus, have in common is a portrait of the Deep South as populated by a people with a collective IQ of about 50. There's Robert Ryan as the clueless patriarch convinced that his granddaddy buried gold treasure on his land; he's a God-lovin' cuss but a hypocrite, forever changing his life rules to accommodate his avarice. There's Buddy Hackett (of all people) as a sheriff candidate who can't even paint an "N" correctly, in love with one of Ryan's nubile daughters. Characters have names like Ty Ty and Darlin' Jill, to make them more folksy, I guess, and the themes are greed and lust, most particularly between Tina Louise (the camera lovingly caressing her breasts at every turn) as Ty Ty's sassy daughter-in-law, desperately craving her brother-in-law, Aldo Ray. Tina Louise was sho' 'nuff all woman, and Aldo Ray all man, and I'll long remember their encounter at the water pump. The characters' collective idiocy gets on one's nerves, and the various conflicts resolve themselves entirely unconvincingly, but it's not a total loss. Ernest Haller's handsome black-and-white widescreen photography does capture the heat and grime of the cotton fields, and Elmer Bernstein's score is very good fake Copland.

The controversy that surrounded this movie, along with the scandal associated with the novel upon which it is based, may not have added up to box office success, but the film has become a classic nonetheless.

Author Erskine Caldwell and Viking Press, his publisher, were actually charged and tried for obscenity for releasing God's Little Acre in 1933 after pressure by a New York literary board who wanted the book censored. A quarter of a century later, in 1958, when the movie was released, it was actually banned in some theaters and audiences under eighteen years of age were prohibited from viewing what were perceived to be numerous obscene scenes throughout. The on screen sexual exploits are rather tame by today's standards, but the sexual tension of men standing and watching naked women pushed the limits in its day.

Robert Ryan stars as Ty Ty Walden, a farmer who believes there's gold buried on his land. A devout man, he has set aside a small plot of land promising God anything that comes from it. With typical human frailty, he is prone to move God's Little Acre whenever he fears it may contain his fortune, an obvious allegory for the shifting faith we all suffer.

Ty Ty has singlehandedly raised three hot headed sons and a lovely daughter, who is his treasure and, it turns out, an almost irresistible sexual force. Throw in Grisleda, the sultry wife of one of the sons, and her ex-lover, Will, and a subtext of complex sexual entanglements and betrayals lead to tragedy and eventual destruction of the family.

Caldwell, by showing Ty Ty destroying his farm in search of quick riches, meant to comment on the destructive attitudes of the South with regard to the land. Although Ty Ty could have turned a profit at any time by farming, he does everything but farm. Eventually he enlists the aid of an albino, played by a delightfully young Michael Landon, whom Ty Ty believes has magical divining powers, and demands that he find the gold, which, of course, he cannot do, since there is none. Vic Morrow, Jack Lord and Buddy Hackett round out the supporting cast, as the entire family living around the edges of Ty Ty's dream.

The real story, however, revolves around Louise, stunning in her first major role, and Aldo Ray, a classic machismo who put the "man" in leading man. Their adulterous tryst generates more heat than the oppressive dog days of the southern summer. You've got to see the water pump scene, if you can find a copy that hasn't melted from heat of it.

Originally, the novel was intended to dramatize the strike and eventual shutdown of a textile mill in Gastonia, North Carolina. Caldwell thought of the novel God's Little Acre as a proletarian manifesto that would call attention to the plight of non-unionized textile workers, lintheads, as they were called, in the Depression Era South. That the film got made at all in the age of McCarthyism is astounding. In fact, the nominal screenwriter, Philip Yordon, was actually a front for the real screenwriter, Ben Maddow, who had been blacklisted in the Hollywood Red scare.

The Marxist ideas of Caldwell's novel are mostly lost in the film adaptation, although discerning viewers will see their remains in the brutish Will's desperate attempt to seize control of and reopen the textile mill on which the entire local economy depends. Without giving too much of the story away, this is classic transgressive fiction in which following the dark side of life leads inevitably to destruction.

Although the movie is a uniquely satisfying experience, please don't let this classic prevent you from reading the book by Erskine Caldwell. The novel, one of the best selling in history, is a literary touchstone and deserves a good read, and reading is in danger of becoming extinct. But do watch this movie, when it's hot and you're feeling a bit nostalgic.