Notre pain quotidien

A young impoverished couple (Tom Keene, Karen Morley) with no employment is given some land and a farm by an uncle during the Depression.The couple finds hardships on their way and they'll have to fight against distress, elements, and drought. They are helped by some hapless people (John Qualen and many others) and success in managing the land, creating a socialist community . They find hardships as the struggle to support themselves. As they struggle to maintain their dignity and pride and the enjoyable community is peppered with some happy moments, Meanwhile a cover-girl (Pepper) is tempting to the protagonist John.

This is a naturalist rural drama magnificently performed and splendidly staged. This look at day-to-day existence of a poor-class couple is a superb naturalistic celebration of fighting to survive amid all the disgraces, and drought. Its best scenes are referred when the workers are commonly digging the land and water running through the furrows. It contains with numerous sequences highly influenced by Russian directors, such as Alexander Dovshenko and Sergei Eisenstein. Interesting screenplay by King Vidor, risking bankruptcy to finance it, furthermore clever dialogs by the great director Joseph L Mankiewicz. It was a deserved critical success for its sincere treatment of sentiments and its thrillingly slick edition, and innovative utilization of mobile camera. Neo-realist and evocative photography by Robert Planck. Sensible and imaginative musical score by the classic Alfred Newman.

The picture is originally directed by King Vidor. After his successful ¨The last parade¨ one of the great war films of the silent era, he directed ¨The crowed(1928)¨, one of the best mute motion pictures, that is a precedent to ¨Our daily bread¨ and concerning about a working-class people against the backdrop of wealthy society. Later on, Vidor explored similar theme in ¨Street impact¨and he went on filming successful movies such as ¨Duel in the sun (46)¨, ¨Fountainhead(49), ¨Ruby Gentry¨ terminating with blockbusters as ¨War and Peace¨and ¨Solomon and Sheba¨. Rating : Better than average. This sentimental and religious film appeal to uncharacteristic Hollywood epic buffs.

At the time of this film's release, it was a pure novelty. Hollywood had paid little attention to the people in rural areas who had to deal with the Depression. The fact that this movie was made at all is somewhat miraculous since most people didn't want to see films about human struggle -even if they did have happy endings. They just wanted glamour and thrills (amazing how some things never change!). But the most miraculous thing was that Hollywood even allowed a film with a blatantly obvious socialist theme to be made. But then that's what most Americans called Franklin Roosevelt's policies anyway, despite that his 'New Deal' plan lifted the country up out of the mire of hopelessness. This film is hardly a documentary-like look at the effects of the New Deal (which in this scenario was basically co-op living and farming). Nor does it try to be propagandist, preachy or artistic, like Vidor's contemporaries in the Soviet Union. It was able to be made simply because it accepted the form of Hollywood populist cinema, which was basically: keep it melodramatic, cute, and non-threatening. It's sort of like 'Capra goes country', or like the Judy Garland-Mickey Rooney movies, only instead of everyone saying "hey, let's put on a show!", they build a farming community, and carry shovels instead of batons. It's a fascinating look at how people saw this country back then and how Hollywood approached The New Deal.

If you can, try to rent this on DVD because the DVD comes with four fascinating documentary shorts containing different viewpoints of The New Deal.

To really appreciate this film you need to view King Vidor's 1928 silent classic "The Crowd". Both movies are the stories of John and Mary Sims. In the 1928 film, John is done in by his own mediocrity and dreaming during prosperous times overflowing with opportunity. Just six years later a couple by the same name is done in by the Great Depression. Although the two couples have the same name, this is not a sequel. It is King Vidor making a statement on the desperation of the times and how much difference just six years have made in the lives of average people. John actually shows quite a bit of leadership in this film versus "The Crowd". At the beginning, John and Mary are on the verge of being thrown into the street as John cannot find work. Mary's uncle saves the day by allowing them to move into and work a farm that has been foreclosed upon but that nobody wants due to the bad financial times. John, who says he could write a book about what he doesn't know about farming, is helped out by a Minnesota farmer whose own family has been kicked off their farm and is passing through. Pretty soon John gets the idea of turning the farm into a cooperative with people of all professions - plumbers, electricians, masons, etc. - joining in and setting up a system of bartering.

John Sims is voted the leader of the group, but there are obstacles along the way - a drought that threatens the crops and an ex-flapper who wants to lure John away from the cooperative and tries to convince him that it will never amount to anything.

This film is particularly relevant since the U.S. economy is facing challenges similar to those of the Great Depression again. However, people generally don't have the skills needed to live directly off of the land that they still had in the 1930's.

The film, though socialistic in many ways, represents the drive to get back to nature as stressed by FDR. It represents the optimism believed by people that the current system had gotten too complex and that people were mere cogs. By creating a co-op, the characters essentially created a system focused on barter. This form of commerce could not become corrupted to an extent as a monetary based market did. Had the film been a propaganda film biased towards a socialist state, the emphasis of the importance of money would not have been as pivotal as it became partway through the movie. This film served not as propaganda, but as a solution to a common shared problem of a bleak time in American history. Because of this, this movie should not be viewed with the same biases of the 21st century.

OUR DAILY BREAD (United Artists, 1934), directed by King Vidor, is a follow-up/sequel to Vidor's own 1928 silent drama, THE CROWD (MGM, 1928) starring James Murray and Eleanor Boardman as the typical American couple, John and Mary Sims. In this sound go-round production, Tom Keene and Karen Morley, who somewhat resemble the original portrayers, step in as John and Mary Sims.

This time the setting takes place during the hard times of the Great Depression. John and Mary live in an apartment (possibly New York City) struggling to survive their daily existence. John searches high and low for any kind of job while Mary manages to talk the landlord into giving them a little more time to come up with the rent money. Hoping that their visiting Uncle Anthony (Lloyd Ingraham) can submit them a loan until John can obtain work, it is learned after a dinner that Uncle Anthony hasn't the funds to help them nor himself. The Stock Market had gotten to him, too. However, he offers the couple an old farm in the country that he doesn't want. Although John and Mary know nothing about farming, they accept his offer. It's only after John comes upon Chris (John Qualen), a destitute Swedish farmer whose truck has broken down, that John hires him as his farmhand. John then comes up with a great idea starting a commune for other depression victims to lend a helping hand, ranging from carpenters to blacksmiths. The farming community, with John as their leader, becomes a thriving success. Of the residents in the community, Louie (Addison Richards), helpful as a tractor driver, is very mysterious, especially when keeping only to himself. After the arrival of Sally (Barbara Pepper), a blonde floozy, she not only plays her radio music loud enough to hear in the next town, but arouses enough attention from John to go away with her. Situations arise when farm animals and crops of corn are dying due to a serious drought.

OUR DAILY BREAD is an interesting look of an American people of the Depression era striving together, uniting as one, with a positive outlook in life regardless of how dark things become. A forerunner to the now famous John Steinbeck novel, THE GRAPES OF WRATH (which later became a classic 1940 motion picture starring Henry Fonda, with John Qualen playing a strong supporting role, minus his Swedish accent), in a story about farmers losing their land and driving cross-country to fight unemployment. Steinbeck's book and movie adaptation goes more into darker detail than Vidor's production. There's drama, but plays on the lighter side, with moments of comedy "relief" usually by the supporting players of farmers. There's a memorable scene where farmers gather together for prayer, kneeling on the earth of soil, accompanied by a choir sounding music soundtrack. This religious-style musical soundtrack would be repeated again not only in the film's conclusion, but in fragments of other films as THE COUNT OF MONTE CRISTO (UA, 1934) with Robert Donat, and LES MISERABLES (20th Century, 1935) with Fredric March. While OUR DAILY BREAD is essentially an American film, there are times it has the outlook of an European production.

Karen Morley, formerly of MGM (1931 to 1934), stands out as a self-sacrificing and devoted housewife in one of her rare leading roles. Her confrontation with Sally (Barbara Pepper) doesn't comes off as strong as it should have been. Tom Keene, who found brief stardom in "B" westerns at RKO Radio (1931-1933), does what he can as the central character. He simply fails to live up James Murray's powerful performance in THE CROWD. Since the movie consists of a majority of unknown actors, from the leading actors down to the co-stars, including Nellie V. Nichols as Martha, Chris's wife; Henry Hall as The Carpenter; Bud Rae as the Stone Mason; and Bob Reaves as George Washington Hannibal, OUR DAILY BREAD could obtain an audience today only by word of mouth. Clips regarding the history and background of this production were profiled in the King Vidor segment from "The Men Who Made the Movies" (produced for PBS in 1973). As in "The Crowd," "Our Daily Bread," is highlighted by a memorable and compelling conclusion that makes up for some of the weaknesses found in both the plot and acting.

Broadcast history for OUR DAILY BREAD consisted mostly those on public television, first on the May 13, 1972, showing of the weekly series, "Film Odyssey" (WNET, Channel 13, New York), decades before turning up on classic cinema late show presentations during the after midnight hours, and finally on Turner Classic Movies cable channel where it premiered January 7, 2007. Since it's a public domain title, video distributions consist of various editions, including a slightly shorter print with inferior picture quality and/or sound reproduction, with the opening credit distribution by Astor Pictures (from 1940s reissue) rather than the original United Artists/ Viking Productions. The best video/DVD copies to obtain are the ones from either KINO Video or by locating an old 1980s copy by Embassy Home Video, that features a 10 minute segment that precedes the movie on how OUR DAILY BREAD came to be, narrated by the director himself, King Vidor. It's interesting to note that Vidor struggled to get a movie studio interested in distributing this project. He found one in United Artists, but had to mortgage his home or sell whatever he owned to finance the film. Vidor also mentions that he can be seen as one of the crowd of extras playing a laborer in the ditch digging segment near the end of the movie.

Reportedly a commercial flop when initially released in theaters, it has grown to become a minor film classic that was, as subtitled during the opening credits, "inspired by headlines of today." (***)