The Cabin in the Cotton

Interesting film about the plight of planters vs. share croppers in 1930s South. Richard Barthelmess plays a share cropper's son who is good at school and is sponsored by a planter (Berton Churchill). Although the boy becomes a bookkeeper for him he 's caught between the two worlds and the two girls from each side of town: the planter's daughter (Bette Davis) and a share cropper's neighbor (Dorothy Jordan).

As the war between the planters and croppers increases, Barthelmess is caught in a moral dilemma. He knows the croppers are stealing cotton and he knows they burned down the local mercantile (owned by the planter) because they think they've destroyed the the records. But Barthelmess has an extra set.

The film is a little slow and maybe too old fashioned but the subject matter is interesting and of course the film features Davis' famous line, "I'd like to kiss ya, but I just washed my hair. Bye!" Aside from that the film offers Barthelmess in his last starring role and good performances by Churchill and Henry B. Walthall as a crippled cropper.

Also co-stars David Landau, Virginia Hammond, Russell Simpson, Tully Marshall, Dorothy Peterson, Hardie Albright, and Clarence Muse.

Worth a look

With all the emphasis on Bette Davis in this film, it is easy to overlook the musical interest. I counted four different musical groups, each assigned to a different "class". There was the marching band at the funeral (black used at a poor white event), the jug band (white, at the poor white party), the jazz band (black, at the rich white party), and the blues singer. This is a surprisingly rich array of styles.

Interestingly, only the blues singer (Clarence Muse) is credited.

Corny Pre-Coder about a peckerwood (Richard Barthelmess) on a Southern plantation who is torn between the poor cotton pickers and the greedy plantation owner, all while falling for the owner's seductive daughter (Bette Davis). Davis is the whole show here, giving a fun performance that borders on camp. Even her straight lines seem humorous thanks to her risible Southern accent. The movie's most memorable scene is when Bette drawls "I'd like to kiss you but I just washed my hair" and runs away while a sexually frustrated Richard Barthelmess stares after her. Barthelmess is just short of terrible in this, doing all of his acting in close-ups of his constipated face. Berton Churchill, Erville Alderson, and Russell Simpson are all good in supporting roles.

It's a film that's hard to take seriously at times but, if you stick with it, there is a decent 'message movie' here, the kind Warner Bros. excelled at in the 1930s. The interesting thing about the movie's pro-labor rights message is that, while the plantation owner is a villain, so are the poor workers. They include a slimeball who forces Barthelmess' widowed mother into marrying him in an unsettling scene. Their leader's another piece of work, gleefully planning to blackmail Barthelmess into helping them. So no "white hats and black hats" here; just different shades of despicable. But it's not a movie you watch for the story as much as for the performance of a young and attractive Bette Davis. She's really a treat to watch. My favorite scene is when Bette invites Barthelmess up to her room to seduce him. It's both sexy and unintentionally funny. Which pretty much sums up Bette Davis in this movie and why you just have to see it for her.

The problems of Capital and Labor are well explored in this tight little drama set amongst cotton tenant farmers and their landlords. Striking cinematography and excellent direction, from Michael Curtiz, combine with a first-rate and intelligent screenplay to create a memorable film. The two sides are well presented, both good and bad, and, although the solution for reconciliation is never really explained, the result opens up areas for debate that are still relevant today.

The performances from everyone are very fine - the supporting cast is an extraordinary group of unique faces and personalities. And then there is Bette Davis, in one of her first roles, looking sensational (platinum blonde) and being very naughty - an implied nude seduction is a highlight - as is that famous line. She eats poor Richard Barthelmess for breakfast, spits him out at lunch, and devours his remains for dinner. Barthelmess' performance is wonderful - he was one of the best actors of the silent era and here is strong in one of his rare talkies. He is so good that he almost makes you forget that he is far too old for the idealistic boy straight out of school that he is supposed to be playing. Great film - see it.

In the deep south, the Blakes are a poor tenant farming family picking cotton for wealthy landowner Lane Norwood. The father sends his only son, Marvin Blake (Richard Barthelmess), to school and works himself to death. Lane's daughter Madge Norwood (Bette Davis) hires Marvin for her store and keeps him with his studies.

This is a pre-Code drama. I would like a more specific time and place to nail down the situation. There are some brutal subject matters although this movie is not about the black folks. I've seen Barthelmess before. He retired after the war. His acting style in this reminds me of the silent era. It stands out from the others and is a little awkward, but that does fit his character. Of course, the bigger name is Bette Davis. Sometimes, I do wonder if screen presence is more recognition than acting power. In this case, Bette is playing the sassy flirt which allows for some big acting.