El pantano de la muerte

While participating in a posse to hunt down the fugitive Tom Keefer (Walter Brennan), who is accused of murdering a local inhabitant, the young Ben Ragan (Dana Andrews) loses his dog Trouble in the Okefenokee Swamp in Georgia. He returns to the swamp to seek his dog out but he is captured by Tom. Soon he learns that Tom Keeler is innocent and has a daughter, Julie (Anne Baxter), who is raised by the local merchant Marty McCord (Russell Simpson). Ben has an argument with his father Thursday Ragan (Walter Huston) and he moves to a shanty that belongs to Marty. Then he associate to Tom Keeler to hunt animals in the swamp and he shares the profit of selling furs with Julie. Soon they fall in love with each other. One day, Ben witnesses Bud Dorson (Guinn Williams) and his brother Tim Dorson (Ward Bond) stealing Marty's pigs. There is a meeting in the village with Sheriff Jeb McKane (Eugene Palette) to find the thief and Ben's ex-girlfriend Mabel MacKenzie (Virginia Gilmore) is jealous of Ben and accuses Tom Keefer. The sheriff organizes a search party to hunt Tom down, but Ben presses Jesse Wick (John Carradine), who is harassing his stepmother Hannah (Mary Howard), and he finds who the real killers are. He wants Tom to return to the village, but Tom suspects that Ben might intend to betray him.

"Swamp Water" is an entertaining and dramatic adventure. The locations and the camera work in the swamp are impressive. The choreography of the fight and the quick sand in the swamp "swallowing" the criminal are very realistic. The direction of Jean Renoir and the cinematography are amazing. My vote is seven.

Title (Brazil): "O Segredo do Pântano" ("The Secret of the Swamp")

Only viewed this movie once,when as an eleven year old , it first opened. I still recall the scene where Julie scurried away through the barn to hide from Andrews. Clawing like a black cat (with her raven hair matted as if it were a Brillo Pad.) I instantly fell head over heels in love with that gruff looking girl.

The fight scene , the cottonmouth attack still looms large in my memory. I'm 76 now, but would love to see it twenty more times and hark back to those innocent days, when a nickle candy bar could be bought for five cents .

Excellent movie (Also loved The Southerner)

If one didn't know beforehand who directed this film (which proved to be Renoir's U.S. debut), he would be excused for thinking it was made by John Ford - given the presence of a good number of his stock company of actors (Walter Brennan, John Carradine, Ward Bond, Russell Simpson) and the music score utilizing themes from THE GRAPES OF WRATH (1940), which was also a 20th Century-Fox production! Still, Renoir's uniquely humanist outlook is unmistakable - which is only betrayed by the one-dimensional Tweedle-Dee/Tweedle-Dum pairing of Bond (here practically duplicating his villainous role in Ford's YOUNG MR. LINCOLN [1939]) and Guinn Williams.

An altogether impressive production, with the overpowering atmosphere of the Okefenokee beautifully captured by Renoir and veteran cinematographer Peverell Marley (despite some obvious back-projection); the use of shadowy lighting is especially striking. Its concern with realism also extends to some rather physical violence for the time and a couple of unnerving scenes involving prowling alligators and snakes! Consequently, the film is vastly underrated in the director's canon (especially having now watched all his American features). While it may have served as a sort of dry run for Renoir's own THE SOUTHERNER (1945), the film also looks forward to INTRUDER IN THE DUST (1949) - which, similarly, dealt with a miscarriage of justice.

With regards to casting, I don't agree with Leonard Maltin who felt that Walter Brennan's fugitive constituted "bizarre miscasting" (certainly no more than his uncharacteristic if brilliant turn as Old Man Clanton in Ford's MY DARLING CLEMENTINE [1946]): despite receiving top billing, he appears very little but his presence permeates the entire film. Walter Huston is never less than good in anything he does, but his gruff patriarch here isn't all that central to the plot; interestingly, the actor later appeared in a film by another expatriate French director - Rene' Clair's AND THEN THERE WERE NONE (1945). Conversely, Dana Andrews makes quite an impression as his rebellious but subsequently heroic young son - and this film must surely have put him on his way to becoming a veritable leading-man. The film also has Andrews forsaking egotistical village belle Virginia Gilmore for the raggedy but radiant Anne Baxter (whose real identity has been shielded from most of the community). To spite Andrews, the former takes up with another man: the actor's face was familiar to me but I couldn't quite place it, that is, until I saw his name during the end credits - it was none other than Matt Willis, who would go on to play Bela Lugosi's werewolf acolyte in THE RETURN OF THE VAMPIRE (1944)! Similarly, Huston's young bride (played by Mary Howard) is pursued by an atypically meek, almost pitiful Carradine - though it later transpires that he was involved in Brennan's framing!

Surely one of the film's most endearing aspects is the unconditional love shown by both Andrews and Brennan to the former's wayward dog, hence the name of Trouble (which even occupies the film's very last shot via a well-deserved close-up!). As for the attractively-packaged DVD itself, the overall quality of the film's transfer was acceptable (though print damage was evident on occasion); I don't usually buy bare-bones discs, but the very reasonable price-tag and the fact that this rarely-screened film is as yet unavailable on R1 made the purchase virtually a no-brainer - and it has certainly made me game to pick up some more exclusive R2 stuff, above all the SE of Lewis Milestone's war drama THE PURPLE HEART (1944), also featuring Dana Andrews and a film I missed out on during my tenure in Hollywood...

A swamp that is widely perceived by all the locals as impenetrable offers refuge to a convicted murderer who has been hiding out there for years and has learned its lessons well enough to actually get by quite well. Fear of the swamp and its cottonmouths and alligators is enough to keep any civilized person out, but when a hunter's dog jumps out of his canoe and gets lost in this swamp, its the love he (Dana Andrews) has for his dog that draws him deeper into the swamp and sets up the meeting with fugitive Walter Brennan. It turns out the swamp isn't so bad after all, as Andrews and Brennan team up to collect a valuable set of furs from the animals they've trapped. Back in the town the truth of the murder for which Brennan faces hanging emerges in a very well told story. Jean Renoir was able to bring the town into the swamp or vice versa in this beautifully filmed movie. For sure the best actor awards go to Walter Huston who plays Dana Andrews father, and whose second wife is being courted by another great, John Carradine. The primordial beauty of the swamp makes a nice contrast to the dramatic backwoods small town swamp of this slice of America.

Having seen almost all Renoir's works, I was eager to see this one, the master's first film of his american stint. If you have seen Renoir's The River (1951), one of his loveliest masterpieces, the feeling cames to you, when you are watching this 1941 movie, that you are seeing just a preparatory exercise for that later piece of art. Just listen Walter Brennan's lines when he first meet Dana Andrews about how the death of an individual begets new life elsewhere.

Sometimes also in the movie I had the resemblance of watching a John Ford movie, specially in the town scenes, more obvious in the ball scenes, the guy with the girl chatting, the dancers background, and suddenly a huge thug coming out, and the fight therefore. More hints about this: the writer is Dudley Nichols, a Ford habitual collaborator, and among the cast, John Carradine and Ward Bond, also from Ford's troup. Anyway, it's a Renoir. Watch it (it's short and pleasant, and hide two or three great moments.)