Le soleil brille pour tout le monde

It would be nice to be able to discuss this film without having to refer to its politically incorrect depiction of blacks, but it's impossible to do so. The film, which is a remake of director John Ford's own Judge Priest from the 30s (in which Will Rogers played the title role), must have seemed curiously dated even when it was released, and feels like it was made in the early forties rather than the mid-fifties. Whether that's because of its outdated attitude towards blacks and the presence of slow, scratchy-voiced Stepin Fetchit is open to conjecture – it could just be that the fog of nostalgia that hangs over the entire work is the reason.

Charles Winninger makes an amiable old judge whose quiet wisdom puts to shame the hypocritically puritanical attitudes of his small town's people and the racist assumptions of an unruly lynch mob out to hang a blameless teenage Negro. The storyline is kind of meandering, reflecting the apparently relaxed pace of life in the turn of the century Deep South, and you do really get a taste of Southern gentility – whether accurate not. Its various sub-plots are linked together by the judge's bid for re-election, which serves to emphasise the importance of standing by one's principles no matter what the possible personal costs may be. Of course, the truth is Billy Priest is too good to be true, but I don't think anyone was out to make him a more realistic figure in this milieu than Santa Claus or God would have been.

John Ford's notorious sentimentality is in danger of becoming cloying at times, but he just about manages to rein it in at key moments. The film says as much about Hollywood's take on American social attitudes in the mid-50s as it does about the same in the Deep South at the turn of the century, which isn't in itself a bad thing. I suppose it's even possible that one day films like this will be shown in classrooms to demonstrate the gigantic positive strides made in the cause of racial equality in the latter half of the 20th Century. Better that than they are wilfully ignored in the name of political correctness.

'The Sun Shines Bright' is my all-time favourite movie and, though it is now more than 50 years old, there is not one better that has been made since. I first saw it on BBC TV way back and, having taped it for my own use, I never tire of it. The plot, based on stories by Irvin S. Cobb, is beautifully acted out, especially by Charles Winninger as Judge Billy Priest. The evolving drama is most moving. The post-Civil War period setting and atmosphere are perfectly caught by the greatest of all movie directors, John Ford, and the 'moral' (an apparently out-dated word, but still as relevant today as in the 1950s when the movie was made) of this splendid entertainment is still worth marking, learning and inwardly digesting. If Kentucky is still as it is pictured, even if in black-and-white, may I please move there right now?!

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.

John Ford had a fondness for The Sun Shines Bright. It's a beautiful tale of an honorable old man who even while facing a tough re-election for town judge refuses to be a hypocrite or play up to a lot of his town's hypocrites.

The film was done before as Judge Priest with Will Rogers in the title role. As good as The Sun Shines Bright is, it would have been even better had John Ford not chosen to use Stepin Fetchit in the same part he had in the original film. Stepin Fetchit is, well Stepin Fetchit. Funny thing is that a whole lot of black players are used in this film and their roles are not as stereotypical as his is.

Charles Winninger is every bit as good as Will Rogers in the lead. If you can imagine Captain Andy from Show Boat had he taken up the law instead of show business, you get some idea of what Judge William Pittman Priest is all about. Justice is blind in his courtroom, but it isn't deaf and dumb also. In Winninger's life as well as his courtroom.

He's up for re-election in his small Kentucky county and he's got a hard fighting opponent in prosecutor Milburn Stone. Priest is a proud Confederate veteran, but he's not above saving an innocent black kid from a lynch mob.

Nor is he above a little Christian charity when it comes to seeing a fallen woman who just came to town to see her daughter before she died given a proper funeral service. When no accredited minister will do the service, Winninger fills in at the pulpit and has some choice words taken from the parable about the woman caught in sin.

My favorite scene in The Sun Shines Bright is the funeral procession for the same woman. Winninger is the head of the local United Confederate Veterans and Henry O'Neill is the head of the local Grand Army of the Republic chapter. They are friends and friendly rivals. Yet on that day Republican O'Neill and Democrat Winninger both lead the funeral procession. Too bad our Republicans and Democrats of today can't agree on some common values.

How does this impact on Winninger's election? You'll have to watch the beautiful and poetic The Sun Shines Bright to find out.

I will make an introductory, Autobiographical comment.I am , by training, a Political Theorist and a student of American Institutions.A long time ago, I saw a list of the ten greatest films ever made. The only one I had never heared of was The Sun Shines Bright...Only later did I discover that Ford listed it, with Wagonmaster, as one of his two favorite films. I wrote an essay on Fords "democratic poetics" for a course on Tocqueville(!)In the essay, I analyzed Wagonmaster and the Sun Shines Bright. Wagonmaster(implicitly) and The Sunshines Bright(explicitly)are films about politics, and about democracy. Wagonmaster is ,in fact a pilgrimage narrative, while The Sunshines Bright takes place in a "polis", the tiny Kentucky town of Fairfield,during an election.The whole story is, in fact, a meditation on democracy, leadership, compassion and tradition.Charles Winninger is superb. The Prostitutes funeral,with its closing scene in the church,where Priest quotes the Bible, is simply grand.The parade at the end is very touching, and the final shot of the lonely, but beloved Priest walking alone into his house, is almost equal to the end of The Searchers....Ford was indeed the grand lion of the cinema.