La cavalcata del terrore

I found this movie very uplifting and I believe quite true. My grandmother married my grandfather in almost the same situation. He had come to TX and found her while attending a political rally. They fell in love and married almost right away. Her father, a confederate, disowned her an never saw her again, as my grandfather's dad had fought for the Union. As I was watching it was so well done I felt I was there. Van Johnson and Janet Leigh (even though very young and quite new) was real as it gets. Unfortunately the quality of the film is quite poor, but maybe it will be restored and offered for DVD sale. Dean Stockwell did a fantastic job and should have won an award. Also, Missouri being the state seemed almost real.

The above line is from "Seven Brides for Seven Brothers" but a few more like it would have considerably enlivened this sometimes slow but in fact worthy post Civil War drama. However,there are at least two other real winners in the genuine mean style,and even more of the same could have raised this movie to an eight rather than a faltering seven. For example:

Exultant Wife:You'll always remember this day!

Husband:As long as you live I will.

And:

Idealist Jonson:I joined this war because no man should be hated for the color of his skin.

Confederate:It isn't about the color of anyone's skin, I hate the color of the pants you wore when you came down here against us.

Jonson:This thing was really about the color of my pants?

Unfortunately,the overall mood of the film is continuously uncertain.At times it is genuinely reflective and well timed ,at others it verges on the maudlin.Eleanor Parker or young Katherine Hepburn would have made a lot more of a hullabaloo with the same unchallenging script;Janet Leigh is simply too sweet and wholesome for words.

Still despite a couple of ridiculous brief musical spurts,there are a whole troop of fine character actors,including Thomas Mitchel,Marshal Thompson(particularly good in the climatic scene) and my old acquaintance the inimitable O.Z. Whitehead. Moreover,Van Jonson,for once,is not studio typecast and does a fine job throughout,particularly with his barn musicale and in the final scene.

All told, not the gem that it could have been but deserving of a lot better than it has ever yet been credited with.Definitely worth a look for any post Civil war buff or a family looking for a good clean afternoon's entertainment that has something to say.

The director here is man of all work Roy Rowlands.And the reason that I am doing this review is that Rowlands previously directed "Our Vines Have Tender Grapes",one of the high points of American family drama. He apparently never remotely reached such heights again.

The script derives from a story by Pulitzer Prize winner McKinley Kantor,a writer who more than once received less than he deserved by Hollywood.

This film, based on a story by the author MacKinlay Kantor (who was very popular in the 1930s-1950s period), is a delightful change from the urban tales usually emanating from Hollywood. It is possible that the film's title matches that of the original story, but I must point out that Rosy Ridge is never mentioned in the film itself, not that it matters (it is presumably the name of the location of the story). This film is set in the edge of the Ozarks in Missouri in 1865, amidst the seething tensions and hatreds of the locals who fought on the northern side of the Civil War and those who fought for the south. For those who don't know, there were two American states which were forced by the awkwardness of their geographical positions to remain officially neutral in the Civil War, and they were known as 'Border States'. One was Kentucky, whose sympathies were with the South but which did not dare declare for the South, and the other was Missouri, where sympathies were more evenly divided. This film was largely shot on location somewhere like Missouri, and it might even have been Missouri, who knows. There is a singular amount of authenticity to this film, especially in the flowery old-fashioned dialect used by the supporting actors. The script by Lester Cole (1904-1985, his last script being BORN FREE in 1966) therefore deserves a lot of praise, although that dialogue may have been lifted from Kantor's original. This was Janet Leigh's first film, and as the heroine, she makes a fresh-faced, smiling ingénue with doe eyes who leapt into everyone's hearts, and it made her a star. She would eventually appear in 86 films, the last one being released the year after her death in 2004. She was one of America's best-loved film actresses. Janet Leigh's father, somewhat too gruff and over-acted by Thomas Mitchell, is a fanatical Southern sympathiser who hates all Yankees. He and his wife and daughter and young son wait forlornly for the return of the older son, Ben, who may never be coming back from the War, and whose fate is unknown. They are poor arable farmers who live in a log cabin. Their next door neighbours supported the northern side, and they don't speak to one another. There is a lot of barn-burning going on, attributed whether rightly or wrongly to vicious Yankees, since all the barns which are burnt belong to Southern sympathisers. A different complexion is put on this towards the latter part of the film. A lot of Southern supporters are thus driven out and leave Missouri for good, going out West to what are called 'the Territories', which have not yet become the Western and Middle Western states. One evening a mysterious man, played by the ever-cheerful Van Johnson, walks down the lane near the log cabin playing the harmonica to himself and carrying a few belongings over his shoulder. He is clearly a former soldier, though of which army cannot be determined. He strikes up a conversation with Leigh's family the MacBeans and is given supper, then invited to stay the night, and he stays on and helps with the harvest. He and Leigh fall in love. But there are many complications and twists to the story, such as how and why did he happen to turn up at the MacBeans. I don't wish to spoil any of the mystery of this fine country tale, so I say no more. But this is a very wholesome and refreshing story of real country folk which is very ably directed by Roy Rowland (1910-1995), a New Yorker by origin and no countryman, who directed Margaret O'Brien the next year in TENTH AVENUE ANGEL (1948), directed Van Johnson the year after that in the film noir THE SCENE OF THE CRIME (1949), and is best known as the director of the later film noir WITNESS TO MURDER (1954) with Barbara Stanwyck.

I really enjoyed this film starring Van Johnson and featuring Janet Leigh in her film debut. It is set in the Ozarks of Missouri after the end of the Civil War. The Civil War is over, but being a border state, there are existing tensions between neighbors who fought on opposing sides. So the movie opens with the following words: "But peace is achieved by the goodwill of people, and not by the flourishing strokes of a pen... "

In this town, everyone is sized up by the color of their britches - blue (Yankee), or gray (Confederate). The war was fought over giving rights to all people, no matter the color of the skin. Now they're fighting over the color of their pants. The harvest has come in, but everyone risks losing their crop in the fields because neighbor won't help neighbor to bring it in.

I liked the cast chosen for the film. Janet Leigh has a fresh, young face in her very first film. She has such delicate features. It's amazing this is Leigh's first film. She seems quite relaxed and natural.The little boy, played by Dean Stockwell - you may recognize him as the crippled boy from "The Secret Garden". The father is played by Thomas Mitchell, who also played the dad in "Gone with the Wind", Gerald O'Hara. Van Johnson is charming as the stranger who wanders in one day - looking for work, shelter and a warm meal - but also has an ulterior motive. He's the right mix of rugged and muscular, mixed in with the boy-next-door approachability. His honest face helps him to pull off his character's purpose (I won't give it away). The mother, played by Selena Royle, is just the right mix of sadness and hope. She is bold to make the first move at the barn dance and asks one of the men from the "other side" to dance. The folk songs are infectious, toe-tapping melodies.

The movie is full of homespun sayings like my grandmother used to say: right as rain, tighter than a gopher hole, wipe the vinegar off your face, "my hunger's powerful enough to lift the lid off the pot",etc. I like the depiction of the sparse and harsh life shown in the film. The location shootings, combined with the sets, create the perfect atmosphere for recreating a bygone era.It's funny when they discuss having a "play" party (a dance where music is played). When it's mentioned to invite everyone from BOTH SIDES in the community, the father says "You can't go mixin' britches!". Hilarious!

My favorite part of the movie is the twist at the end- when there is a fork in the road (Liberty Road), and the truth is revealed. I won't give it away. Some will find it very cliché and a little too obvious. But I liked the use of the fork and what it ended up meaning in the movie.

This was very good story telling, matched with a more than capable cast and adequate cinematography. I don't think you will be disappointed!

Another reviewer claims this is a romantic musical comedy, not a drama--I beg to differ. There are songs, to illustrate the folksy ways of the Missourians, and there are a few laughs, and there is a romance, but it's difficult to class anything that includes montages of barn-burnings committed by hooded men on horseback as a musical comedy.

It's a film worth watching, though, as a post-WW2 look at the post-Civil War era, and how difficult it can be to cool off the high-burning passions of wartime. Johnson plays a vet who wanders into a small Missouri town still smarting with North-South divisions. It's an interesting story, incorporating unusually pointed comments about racial equality; the screenwriter, Lester Cole, was later blacklisted as a member of the Hollywood Ten.

The cast is incredibly engaging, from the dewy new starlet Janet Leigh (who got this part after just three weeks in Hollywood!), to the indescribably adorable young Dean Stockwell, to the complex Thomas Mitchell, to the wonderful character actress Selena Royle, playing Leigh's mother with beautiful emotional range.

This definitely falls into the category of the sort of social-issue picture (like Gentleman's Agreement or Paths of Glory) that led to the blacklisting of so many screenwriters. That alone makes it worth the viewing; the cast will just ice the cake.