The Sun Shines Bright

It is a lovely film to watch. Archie Stout one of fords favorite cameraman, shot it. The last scene where Judge Priest is seen in the doorway echos the last scene in the Searchers. It is a film about loyalty, honor and redemption. But there are scenes where the black people of the town are shown to be childlike, and in awe of their white leaders. This marks the film as a product of a time long past. Some of the scenes of the black people are demeaning. But over all, Judge Preists sense of honor, his fairness to all, his sense of decency looms over the film. Ford makes Judge Priest (played by Charles Winninger in his best role) a heroic figure. But a figure that is isolated even in a crowd. A former bugler he is left to carry on the codes of honor and fairness that the old south thought it contained. People vote for him, return him to office year after year, yet he goes into his home alone. He is man out of his time. A man of the community but set apart from it by his strict adherence to his code. Some of the acting in the film is over acting. But the last fifteen minutes are lovely to watch.

A masterpiece and reputedly John Ford's personal favourite from among his own movies. The sentimentality quotient is unnaturally high, even by Ford's standards and the racial stereotypes are appalling but this is still one of the cinema's greatest pieces of folk-art. It speaks of an American South about as realistic as the Ireland of "The Quiet Man" or "The Rising of the Moon", (another great, under-rated Ford film), where the old guard still cling to memories of a hopelessly romantic past, where blacks are treated 'honourably', even if their sole purpose is to play the banjo and the harmonica and in the name of the eponymous actor to 'Stepin Fetchit'.

By today's standards the film is anything but PC but it has an innocence that transcends its stereotypes and Ford handles the set pieces magnificently. In particular, the funeral of the 'fallen woman', (and mother of the heroine), that ends the film is deeply moving and is among the high points of Ford's work. The film itself is a remake of Ford's earlier "Judge Priest" with Charles Winninger in the role made famous by Will Rogers, but this is altogether superior.

One of the odd aspects of this film is the post Civil War background that looms large to a greater or lesser degree throughout. This takes the form of a blatantly obvious pro Confederate stance, and an almost religious idolatry of 'Dixie'. Halliwell tells us that Judge Priest, the moral heart of the film, "has trouble quelling the Confederate spirit" - but the opposite is the case - the judge is absolutely central to maintaining and celebrating that spirit. The oddness comes because, it seems to me at least, we are not used to seeing such a character defending black rights, preventing a lynching, etc. Even more peculiar is to see such a 'happy' black population - particularly the quite disturbing courthouse scene where 2 black characters suddenly burst into a grotesque song and dance routine. "Mississippi Burning" this certainly isn't! But certainly a film worth watching, and the prostitute's daughter's funeral scene is excellently done. It somehow feels older than 1953.

A sort of remake of Judge Priest, taking on a slightly different selection of short stories by Irvin S. Cobb about his character of Billy Priest, The Sun Shines Bright is a more refined telling of a very similar set of stories than the earlier version. Still steeped in nostalgia for an idealized Kentucky post-Civil War and missing the presence of Will Rogers, replaced capably by Charles Winninger, the movie is a sweet look at one man making his little town better by simply being good and decent. Ford would later say that it was one of his favorite movies he made himself, holding it up as an example of what he was trying to do in the movies.

Billy Priest (Winninger) is a local judge up for re-election in the next few days against his opponent, the county prosecutor Horace K. Maydew (Milburn Stone). Priest helps to let off a young black man, US Grant Woodford (Elzie Emanuel), son to Priest's servant Uncle Plez (Ernest Whitman) of a small charge, helped by his ability with a banjo. That same day, Ashby Corwin (John Russell) returns to town after years away and gains an eye for the social pariah Lucy Lee Lake (Arleen Whelan), a woman of unknown parentage, the ward of the local doctor. She's pretty and young, but no one will approach her because of the knowledge that her mother was a woman of not a well-looked upon profession.

The closest thing this film has to a plot is Priest navigating the eventful few days before the election to both do what he thinks is right and to try and win re-election. The central piece to all of this is US going into a white part of town where a trio of hound dogs chase him up a tree after a young white woman is attacked and left unconscious. Because the dogs went after US, the people in the small community think it was him and they're ready to lynch him the first chance they get. In a scene reminiscent of the future president talking down a mob in Young Mr. Lincoln, Priest tries to talk down the mob before pulling a gun on them and threatening to shoot them should they try to break down the door, scattering them for a time. At a teetotalling election dinner where Priest must try to keep his fellow ex-Confederate soldiers happy in the face of an evening without alcohol, the sheriff rolls up with the actual perpetrator whom the girl identified after she woke up, Buck (Grant Withers) whom had insulted Lucy on the street earlier in the film.

Concurrently, an older woman (Dorothy Jordan), sick with disease, comes into town and dies in the local brothel despite the doctor's good care. She is Lucy's mother, a former paramour of the Confederate general Fairfield (James Kirkwood) whom has known that Lucy was his daughter for years due to her resemblance to the woman he had known and refused to acknowledge her as well. The woman's dying wish was to have a real funeral with a preacher giving a sermon. When she does die, Priest leads the funeral procession that he pays for himself, his act of goodwill towards an unwanted member of society inspiring the people of the town to join in and attend her funeral where he reads the story of Jesus saving Mary Magdalene. It's a real sweet moment as Priest uses his status of authority in the town to extend a gracious hand towards a woman forgotten and cast aside, even in death.

Needless to say, his efforts at just being a decent man, saving US's life by holding off the mob, being a gracious individual to the veterans of the Union army also living in the town, and holding a funeral for a forgotten woman, end up giving him the necessary votes to winning his re-election. It's not challenging, but it is heartfelt and warm. I do miss the easy charm of Will Rogers in the role, but Charles Winninger is nice as Priest. He's a good old man, set in his ways, but he just doesn't have that same kind of appeal as Rogers that I found so affectionate in Judge Priest. Overall, though, I find this to be the better film.

The story is more cohesive, comes to a nicer conclusion that's not as steeped in Confederate rose-colored glasses, and is more emotionally resonant. It's a very nice movie.

When discussing this enriched remake of his 1934 film featuring Will Rogers, director John Ford, not one to speak with crossed fingers, is quoted by Peter Bogdanovich: " 'The Sun Shines Bright' is my favorite picture - I love it. And it's true to life, it happened. Irvin Cobb got everything he wrote from real life, and that's the best of his Judge Priest stories." Three Cobb stories: "The Sun Shines Bright", "The Man From Massac", and "The Lord Provides", form the basis of a Laurence Stallings screenplay set in 1905 Fairfield, Kentucky, where incumbent magistrate William Priest (Charles Winninger in a rare starring turn) faces a close election against Yankee prosecutor Horace Maydew (Milburn Stone), while traces from a good many of Ford's customary themes are in place, including his relish for lost causes, Christian based parables, and the significance of closely-knit communities. When 20th Century Fox destroyed expurgated negatives from his initial Judge Priest effort, Ford decided to re-film it, and this unabashedly sentimental essay displays remarkable artistry from this highly visual director, as evil is mastered by simple good nature, even without the "director's cut" that restores over ten minutes of important footage, and is not widely available. Ford employs many of his favourite stock company players including two, Stepin Fetchit and (for the last time in a Ford picture) his brother Francis, who had been cast in the 1934 production, and all perform with enthusiasm, Winninger earning acting honours for his full-blooded performance, and viewers will appreciate the magnificent funeral procession and service scenes along with others where Ford's brother-in-law, assistant director Wingate Smith, utilizes his outstanding control of extras, a superlative element in a film that benefits from many such, and from which was reproduced a large print that was placed over the head of Ford's bed until his death.