Heart of Dixie

THE HEART OF DIXIE has been called lightweight social-consciousness fare. I would have to agree. If you know anything about the American civil rights movement you will not learn anything new from this movie. Nor will you meet any of the movement's historical figures. This film is not so much about the fight for equality as about the awakening of a new social consciousness in the South. The acting is solid (if melodramatic at times), and the film gives a glimpse of 1950's segregation and the lingering rigid social order of the Old South. A few scenes might be disturbing or offensive to some, but they don't strike me as being out of keeping with the setting and characters. Ally Sheedy is likeable as a southern everygirl journalism student who takes up the civil rights cause after coming face-to-face with the brutality of segregation. Virginia Madsen is believable as a traditional southern vamp, as is Treat Williams as Sheedy's photojournalist mentor. The remaining supporting cast is also credible as an assortment of good ol' boys, aristocrats, southern belles, and black laborers. I was greatly disappointed to find that Phoebe Cates plays only a minor role despite receiving 3rd billing. She is so appealing as outspoken, optimistic, free-spirited rebel Aiken Reed that you have to wonder why her character wasn't put to better use. As it is, she serves primarily as the symbol of a new southern womanhood, eager to throw off the societal mores that have held her back and yearning to come into her own.

There are certainly more powerful and compelling movies about the civil rights movement. Still, THE HEART OF DIXIE is an earnest little film that that bears viewing.

This review deals with accuracy, not political correctness. I was an idealistic 11 year old girl living 90 minutes from Oxford, MS, and Ole Miss in 1957--the year and setting for this film. I can confirm several things:

(1) For anyone interested, the wardrobe for the female cast is so dead-on accurate to the times, it's almost scary. When (early on) a coed flounces into the room modeling her new sweater--exact replicas of that sweater were gracing the halls in my school. The other fashions were spot on and had me reliving those years.

(2) This is totally accurate sorority-girl-college-life in this era. It is based more on Ole Miss than a fictitious Alabama school. Bit of TRIVIA--two sorority sisters who lived in the same house at Ole Miss went on to become Miss America 1958 and Miss American 1959: Mary Ann Mobley (58) and Lynda Lee Meade (59). If you'd like a glimpse into what it was like to live in a sorority house on a southern campus--this is it.

(3)Through the turbulent 60's, often Southern schools were oddly separate from the war protests and flag-burnings occurring on other campuses. I was in college in Mississippi from 1964-1968, and our campus was as peaceful as a Sunday School picnic.

(4) Lastly, re: the interaction between Maggie and the two African American cooks in the sorority house kitchen. It's more politically correct to argue today that black-white friendship, love and cordiality didn't exist--that it was never this way--but I lived it. I both witnessed and experienced scenes like that of genuine affection, laughter--and yes, even scolding--from older women to these younger pampered girls more times than I can count.

SUMMARY: For fashion accuracy, setting accuracy, and a couple of scenes depicting interracial relationships, it's accurate. I lived it. As for the acting and direction--I can't speak to that.

This is one of those movies you start watching because it has some interesting "celebrity" names...and it's an 80's film. It doesn't live up to that 80's film image. Don't get me wrong...if you like watching ignorant soldiers fight in pubs and little girls say it's ok to be raped...oh and let me not forget the infamous negro telling his "master" that he gets treated "oh so good", then you'd love this film. It was a waste of my time. I actually couldn't make myself watch the end. I watched enough to tell you...change the channel, don't waste your buck at the movie rental store, and if you went to a movie theater...then bless your hearts...you are brave.

While the movie may have some moments that are not particularly politically correct, remember the movie was made in 1989 but set in 1957. At that time these were not incorrect, wrong to have happened, but not incorrect in the time it was set. Having grown up in a small town in Mississippi in the sixties and saw a lot of racial tension I thank God every day that I had intelligent parents who taught me you judge a person by the person, not by color. And the relationship between Ally Sheedy's character and the black dorm matron spoke volumes without even having to say anything. Maybe I see it differently because I grew up in a time when crosses were still burned often and the Klan marched on our court square often and awful things happened that shouldn't happen to anyone. Thanks for your time. Barry.

This film offers the modern viewer born say during the Reagan Administration and well after or into the Civil Rights Movement, a little perspective on what was the socio-political atmosphere in Alabama in 1957, the year in which "Hearts of Dixie" was based. And while this film is no exceptional film by any stretch of the imagination, it is worthy of viewing and comment on several grounds.

For one thing, it reveals the naiveté prevalent among the South and especially young Southerners of the time regarding the race issue, and especially their superficial and almost arrogant attitudes toward it.

The film portrayed these elements with skill and prowess.

The film also examined the social awakening of two of its main and central characters, namely Phoebe Cates' character for one, which was cursorily touched upon, and the role played by Ally Sheehy, the central character in the story. The juxtaposition of her supposed civility and grace mixed with her moral and ethical outrage at the act of injustice at the Elvis concert and afterwards was especially revealing and telling. And her awakening was a true metamorphosis, and the crowd scene shows this, for it allows her Southern-ness to essentially disintegrate and disappear was artful while her new self emerges and into the arms of her hero.

It would appear that the first person who reviewed and panned this film failed to catch as much.

The film itself may have been overacted and a bit contrived, that much is given, but overall the story and screenplay itself was a good and solid one and does not deserve to be panned in the manner in which it was panned. I would urge everyone to view this film with a more critical eye, which means to do so with an eye more toward seeing the film's cinematic merits and detractions and to look beyond just how the actors respond to their roles. For in just regarding an actor's portrayal, you too might be accused of taking the film a little too superficially.