The Migrants

As a senior at an all-boys Jesuit high school, we the entire student body were required to watch this. It was part of the school's relentless insistence that we in all ways should be Men for Others.

I've remebered this film ever since as my awakening awareness of the poor.

Recommended by a friend, I reluctantly watched this film, dreading the thought of watching familiar actors reenact the Joad family. Instead, I was mesmerized by a life made real by the extraordinary talents of Cloris Leachman and Ron Howard. This IS the Joad family, as they existed in more recent times in the South. The film continues to haunt my thoughts years later.

Acclaimed TV-movie from CBS features Ron Howard as the eldest child in a gypsy-living, crop-picking family who dreams of his independence, guiltily planning for the day when he can make a life for himself in the city--far away from the long, sweaty days out in the fields. Lanford Wilson adapted the short story by Tennessee Williams, showing us the hardships behind this caravan of migrating workers who pick up and go from one crop to the next in the southeast. Still, with such attention to the milieu, one feels the character content comes up short. Wilson and director Tom Gries spend so much time telegraphing us that one of the workers is sick, we have nothing much to look forward to except his demise (and the burden this will place upon matriarch Cloris Leachman). Meanwhile, Howard's relationship with factory-line worker Cindy Williams (reunited from 1973's "American Graffiti") is sketchy--and it comes as a surprise to learn later that she's 'underage'. Emmy-nominated Leachman performs her role without affectation or vanity, and her wry way with a line of dialogue (neither saint nor sinner) ultimately makes the film worth-seeing, although it isn't an emotional or touching picture, as it was undoubtedly meant to be. Wilson and Gries haven't shaped the characters with care, introducing us to them within a flurry of activity. The effect is off-putting, and the finale--a hopeful question mark--doesn't begin to resolve the central family's issues.

Lots of low-key, powerful acting. The moments of emotional 'pay off' are built slowly and with great care. Did Ron Howard ever have a better moment on screen then the time he almost escapes the migrant life but finds himself trapped again when a family member dies and he is needed to work and cries out with real anguish "Nothing ever works out!"?

But the real gem of the film? It is the moment when Cloris Leachman 'loses it'. A sadistic sheriff is going to confiscate the family's pitiful but 'illegal' rabbit trap which is the only way they can put some meat on the table. Her authentic and 'full body' hysteria is the equal of her Academy Award winning moment at the end of The Last Picture Show. She literally holds nothing back - in both films it is scary its so good!

A young Sissy Spacek plays Ron Howard's sister and Cindy Williams (of Laverne and Shirley fame) is natural and delightful as Ron's girlfriend. The sets, people and detail are realistic and not 'prettied up'. When I look at all the crap on DVD, why can't they give this a decent treatment? Who wrote this? LANFORD Wilson, famous playwright and he used a TENNESSEE WILLIAMS short story as the basis - meeting and working it out with Tennessee!

This movie was filmed at various locations in Cumberland County, New Jersey, where I've lived my whole life. I was five years old when this movie was filmed. I remember going with my parents one time to see the cast and film crew shoot a scene in a field near where I grew up. After the filming concluded, the cast signed autographs for fans at the local fire hall. It was all really great having Hollywood come to a small town like ours.