Ombres vers le Sud

The workingman's studio, better known as Warner Brothers, did most of its social commentary films with an urban setting. Which in itself makes The Cabin In The Cotton a very unique product to come out of this studio. It's not a bad film, could have been better in delivering its message with a lighter hand. But what the Brothers Warner did was go back on an old standby.

Watching The Cabin In The Cotton this morning put me in mind of a much better film in which Preston Sturges satirized the making of films like these. If you remember in Sullivan's Travels, director John L. Sullivan played by Joel McCrea wants to make films like these, the epic he wants to do is entitled Oh Brother Where Art Thou. But in order to sell it he's advised to make sure it has 'a little sex'.

Which brings me to why The Cabin In The Cotton is remembered today at all. It's because of what Bette Davis brings to the film, a little sex. This film was a big milestone in her career as she plays the hedonistic daughter of that old southern planter Berton Churchill who keeps his sharecroppers, black and white, in virtual peonage.

The lead Richard Barthelmess plays a bright young sharecropper's son and Churchill takes an interest in him, sending him to school to be educated because he has no son to help run the old plantation. What he does have is one sexpot of a daughter to keep Barthelmess on the side of the rich and privileged instead of finding true love with one of his own class in Dorothy Jordan.

Churchill has been systematically exploiting the sharecroppers with high interest and cheating them on price. They in turn have been stealing cotton and selling bits of it on the black market. Henry B. Walthall and Russell Simpson have been leading the quiet peasant's revolt which threatens to get open and nasty. I'd have to say that the ending of the film has a forced and obvious conclusion both romantically and socially, but you'll have to see it for yourselves to find out.

The Cabin In The Cotton is a dated, but historically valid film about conditions in the old Confederacy before the New Deal. But the sex that Bette Davis brings to her role is timeless.

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.

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

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.

For those who are looking for a thoughtful and socially relevant Hollywood film, Cabin In The Cotton is it. The movie is rather quaint, even compared to other films of its time, but that's part of its charm.

The subject matter is unusual, in that both the struggling sharecroppers, and the wealthy land owners are portrayed as flawed individuals. Bette Davis performance as Madge gave her an early career opportunity to impress critics. Unlike her future roles, though, it isn't large or challenging. There is enough there to allow her to be a vulnerable,spoiled, and sexy minx. She also has eccentric dialogue and a glamorous wardrobe. Richard Barthelmess, in the lead role, as well as the supporting players, give very authentic performances. The cinematography is striking,giving the film a realistic rural atmosphere. A powerful and intelligent scene near the end reminds us that, in any profession, the necessary relationship between labor and management will always be a difficult battle.