Valle profundo

The new Pacific Coast highway is being built and a meadow is being sacrificed from Henry Hull's farm for the job though he got some good money for it. Looking at the place it's kind of depressing and hopefully he'll fix the place up.

It's probably most depressing for Ida Lupino in one of her best films Deep Valley. She's a shy withdrawn girl with a stammer and she doesn't have outlets for socialization. She lives on said farm with her parents Hull and Fay Bainter who is one of those women perpetually sick. With a road crew under the direction of engineer Wayne Morris all of them at the farm actually lighten up with the arrival of human contact.

The crew on the road is convict labor and one of them, Dane Clark is a person of violent temper which is why he's there on a manslaughter rap. He escapes during a landslide and the whole county under sheriff Willard Robertson is on the hunt.

The shy and and backward Lupino discovers Clark and befriends him. She just wants to see the world and Clark is really a tragic figure, as socially regressed as she except that his temper makes him lash out.

Though some of the character development of the supporting players isn't quite well rounded when director Jean Negulesco is concentrating on his stars Lupino and Clark he's got a winner in Deep Valley. Color cinematography might have really given this film a boost, especially the outdoor scenes. On the other the black and white does accent the tragic elements of the story so take your choice.

This is definitely one of Ida Lupino's five best roles. For her fans Deep Valley is a must.

Ida Lupino (Libby) plays the socially isolated daughter of Henry Hull (Cliff) and Fay Bainter (Ellie). They live in the middle of the nowhere and Lupino is the glue that keeps the family together as her parents don't speak to each other and live on separate floors. She acts as a go-between. One day, after wandering through the woods, which is her only enjoyment in life, she stumbles across some convicts who are building a road. One of them, Dane Clark (Barry) takes her fancy. Can these two misfits get together? Wayne Morris (Jeff) also takes a shine to Lupino and her father wants to encourage this relationship. Lupino has other ideas.

The cast are good with the central performance of Lupino leading things along as she develops a relationship with Clark and we see her change into a happy girl. However, this is ultimately an unhappy story that you will probably be able to predict. It does provide tense moments, though. Personally, it was too obvious for me and I would have preferred a different ending. It's still worth keeping onto.

Ida Lupino was nearing the end of her Warner Bros. career when she did 'Deep Valley' with Dane Clark, Wayne Morris, Fay Bainter and Henry Hull. Sensitively directed by Jean Negulesco (who did 'Johnny Belinda'), she is a repressed farm girl with a speech impediment who befriends an escaped convict (Dane Clark). She blossoms as romance slowly develops, his love helping her to emerge from her shell, away from her bickering, embittered parents (Hull and Bainter).

A forgotten film, it derives much of its power from Ida Lupino's intense, believable performance in a strongly sympathetic role as the girl who is cured of her affliction by the love of a convict. It has the same kind brooding atmosphere that director Jean Negulesco would bring to 'Johnny Belinda' the following year. Variety called it "a first-class melodrama marked by distinctive performances". Jack Warner was so impressed, he wanted Lupino to extend her contract but she refused, tired of being treated as a second-class Bette Davis. She turned her back on the studio, intent on finding artistic freedom elsewhere.

Unfortunately, the film itself has become one of those "lost between the cracks" kind of things instead of being released to video. It was a bit too bleak and perhaps too downbeat to achieve any sort of popularity at the box-office and it's really too slim a story to sustain a one hour and forty-four minute running time. However, Ida's luminous performance makes it worth catching. Wayne Morris is wasted in a supporting role but Dane Clark does well with the male lead.

This film was a nice showcase for Ida Lupino--who normally was in second-tier films or played supporting roles in most of her films. Here, despite a relatively low budget, she has a nice opportunity to show her acting prowess.

The film is set in rural America. A road crew with convict labor is working near Lupino's home. She lives with her parents--an ineffectual and sickly mother (Fay Bainter) as well as an often cruel and moody father (Henry Hull). The father sees the foreman of the road crew (Wayne Morris) as a likely candidate to take his 'stupid' daughter off his hands--so he tries very hard to convince the two to spend time together. Odd, then, that instead of Morris, Ida falls in love with one of the convicts--one who has escaped and befriended her (Dane Clark). Much of the movie is spent with Clark hiding and meeting Lupino on the sly.

The plot is okay but the best part of the film is clearly Lupino--who plays a brow-beaten young woman extremely well. A great film? Nah...but for lovers of classic cinema, one well worth seeing.

A down-trodden girl, a mutt dog, and a criminal fugitive on the run. Sounds a lot like 1941's High Sierra, even down to lead actress Ida Lupino. But it doesn't matter that these elements got recycled, because Deep Valley is a really watchable 90 minutes of Hollywood melodrama. Sure, it's hokey at times, especially the weepy ending that's squeezed for all its worth. But the movie is also a testimonial to the demandingly high standards of Hollywood studio production-- scope out the great farm house that almost looks like Katrina hit it, and the road project that looks so real, I expect it was. There's also the exquisite b&w photography from cameraman Ted Mc Cord, along with expert direction from studio ace Jean Negulesco. But most of all, it's the absolutely luminous performance from Lupino in the central role. Was there anyone ever better at playing soulful parts. Here, her stuttering, long-suffering farm girl whose only joy is her dog and the great outdoors, is enough to move the Rock of Gibraltar, and is surely Oscar-worthy. Speaking of the outdoors, it's also a measure of the film's underlying romanticism that the lovers seek refuge in the liberating openness of nature, and away from the blessings of civilization. For each has been brutalized by societal forces larger than themselves. Dane Clark is very good too, even if he never got past second fiddle to John Garfield-- then too, his strictly blue-collar personality was a poor fit for the upwardly mobile 1950's, and by that white-collar decade, he was gone. Anyhow, this super-slick film again demonstrates how wonderfully vital B-pictures of the studio era could be, and is well worth a look see.