Le roi du tabac

Brant Royle (Gary Cooper) returns to what was once his father's tobacco farm before Major James Singleton (Donald Crisp) bought the father out in a foreclosure in his bid at concentrating all the prime tobacco land under his ownership. The film boils down to a contest between Crisp's Old South and Cooper's New South over the invention of the machine by Jeff Corey as John Barton that enables the mass manufacture of cigarettes, a direct challenge to the cigar industry, which occurs as the nineteenth century recedes into the twentieth. In on the initial investment in what would become the cigarette craze are Lauren Bacall as what appeared to be a higher class prostitute and Jack Carson as a traveling con-man. Patricia Neal as Singleton's only daughter is the most memorable part in the film which seems to want to come down on Cooper's side but turns him into a raving capitalist monopolist who always had a desire for Neal and another desire to get even with her father, which leads to pretty high dose of melodrama.

This 1950 film starred Gary Cooper, Lauren Bacall and Patricia Neal in the leading roles and brought drama within the tobacco industry, although in the 50s it was okay to smoke. Doubt this film could make it this day and age.

Interesting to see real-life lovers Cooper and Neal tear up the scenery with their love scenes. Cooper seemed a bit on the reserved side even though he was out for revenge. But, that's Coop. He's a master of do nothing on the screen and manages to hold his own. Spencer Tracy is another one of those dynamic actors. Here he plots to take over the tobacco industry from a man (splendidly played by that veteran character actor of distinction, Donald Crisp) who in the past had run him out of town for kissing his daughter (yes, just kissing) played by the lovely Patricia Neal.

In the meantime Coop courts long time girl friend, Lauren Bacall, somewhat miscast in this, for money to start up a cigarette making factory invented by Jeff Corey, another great actor. Lauren doesn't look her best in this. How can we forget all those marvelous Bogart/Bacall films with her slinky hair and sultry body. In this her hair is up and curled and her gowns of the period don't look good on her. Bring Baby back. She doesn't have the chemistry with Cooper as she did with Bogart. And obviously the chemistry was flying with Neal and Cooper instead.

Also in the cast are Jack Carson, in a small and not so well written role that wasted this fine actor. Gladys George (remember her in MADAME X) was also wasted in a thankless role.

However, it's fine drama of the time and good to see the stars playing out their roles.

I prefer to remember Coop in such films as SERGEANT YORK, FOR WHOM THE BELL TOLLS, SARATOGA TRUNK, FOUNTAINHEAD, HIGH NOON and ALONG CAME JONES.

Gary Cooper plays Brant Royle, a guy from the wrong side of the tracks who sets out to conquer the cigarette market at the turn of the century, whatever the cost. He's pitted against the Southern Aristocracy who've owned the market for generations. His only ally is Lauren Bacall, as the town "bad girl", but that doesn't stop him from pursuing the daughter of his worst enemy: Patricia Neal as the cool embodiment of aristocracy.

It's fairly heavy going through most of the film. There is some technical stuff about the tobacco business, but mostly it's about Royle's emotional conflicts: Love vs. social climbing; his conscience vs his business sense; what to do when achieving your dreams isn't enough; loyalty vs expedience; etc. It's all rather slow and humorless, not at all gripping.

Cooper is a good enough actor to keep you watching through all this even though his character is basically unlikeable, but Patricia Neal is the best reason to watch the film. The best moments of the film, the only ones that make it worth watching, are when she drops the icy mask of aristocratic poise and reveals her true character and motivations. That part it genuinely gripping. Bacall is likeable, but doesn't make an equal impact, and doesn't really seem to belong there. Perhaps it's because she looks terrible in the period wardrobe (19th century clothes were not designed for tall, skinny women).

It's also historically interesting to see a movie about the tobacco industry made before they found out about nicotine causing cancer. Nobody seems to think cigarettes are anything but a harmless indulgence and a cash cow.

Stultified costume drama from Warners, weakly directed by Michael Curtiz and uneasily cast. In the South during 1894, with the waning tobacco industry being led only by the cigar, a kicked-around tobacco farmer looking for respect teams with an eager inventor and a confidence man to make the cigarette the most readily-available form of smoking, open to anyone with a few cents. Playing loosely with the facts surrounding the real-life rivalry between tobacco tycoons Washington Duke and George McElwee, the film is undone by smoke-screen romance and a jumbled, stuffy narrative--not to mention by Gary Cooper's leaden performance in the lead. Cooper, consistently in a foul mood, sits atop his horse looking down at everyone, so why would disreputable bad-girl Lauren Bacall or Patricia Neal, the trouble-loving daughter of the Major--Cooper's rival--even give him the time of day? Jeff Corey trumps them all as Mr. Barton, the brains behind the scheme that makes everybody rich; Donald Crisp is also solid (as usual) as the Major. Technical aspects well up to par, but the characters are a dreary lot. ** from ****

Gary Cooper and Patricia Neal starred in 1949's "The Fountainhead", an adaptation of Ayn Rand's novel about an architect who refused to sacrifice his integrity or principles. A year later, the same two starred in this film, "Bright Leaf", a period piece in which Cooper plays a damaged man who becomes successful in the tobacco industry. In "The Fountainhead", Cooper is a strong man of principle, but he is probably the weakest part of that film, perhaps because he did not understand the film (as he himself admitted), perhaps because the role did not suit him. I think Cooper better understood his role in "Bright Leaf". His character, Brant Royle, feels more authentic. But Royle is not a man of principle. He is a caricature--the uncaring, destructive capitalist. He is a man with a chip on his shoulder and as far from a man of principle as one can get.

"Bright Leaf" actually has more in common with the movie "Giant", in which Rock Hudson and James Dean play warring oilmen. But "Giant' is a much better film. Cooper, like Hudson, is headstrong. And Dean's character is like Brant Royle--a man with a chip on his shoulder, who only wants payback for perceived slights. But "Giant" is a bright and shining production, where "Bright Leaf" is a dingy film of sordid intents.

There is a bright moment in "Bright Leaf"--near the end of the film, when Royle discovers the true intentions of his wife, Margaret. In that scene, Patricia Neal virtually glows as she burns with the intensity of her revealed emotions.

But otherwise, this film is only as compelling as a grudge match between two self-absorbed and boring factions. It's not the director's fault; the writing defines these characters and drives them. It's not a horrible film, but it falls short of "The Fountainhead", which--even with the miscasting of Cooper--contains a striking story of principles.