Qu'elle était verte ma vallée

This film's legacy has been funneled down to "The Film That Shouldn't Have Beat Citizen Kane at the Oscars." This is a massive shame...yes, it skirts the technical experimentation and rampant cynicism of Kane, but it's sappy sentimentalism and moments of sweet humor are what make its more bitter critique of impersonal progress even more affecting. Ford was truly a master; he creates such a sense of place and community in this small mining town, and your heart breaks for their loss of innocence.

This movie is a little long at times, but this is still a powerful story about the many stories that came out of the coal mining families in Wales, Great Britain. One of the top aspects of the movie is the cinematography, under the direction of John Ford. It is very effective. You can just feel the grime and dirt of the mines and cobblestone town. It looks really good now that's it out on DVD.

Walter Pigeon is the likable minister, and lead character, "Mr. Gruffydd." He's likable because he doesn't judge people as the head deacon does. The latter is portrayed ludicrously by Barry Fitzgerald, much to the delight of secular-minded film critics, who loved his performance. Nonetheless, there is a lot of "religion" pictured positively in this film, a lot of spiritual scenes and most were done well.

Roddy McDowell plays the most memorable character, I thought: "Huw," a young boy who went through some really tough times, as did most of the townsfolk.

If you are used to modern films, be warned this film does drag in spots. It is a fine movie, to be sure, and a powerful and emotional story.

This movie tugged at my heart strings like few others. I was thoroughly immersed in the lives of the Morgans and found myself especially drawn to young Huw's trials, tribulations, and triumphs. The scene where he taps his fork twice and sneezes before he is acknowledged by his father was poignant beyond belief. Despite the hardships and tragedies there is also warmth and humor such as when family friends of the Morgans visit the schoolmaster after he had been especially harsh with Huw. The romantic aspect of the film is also well done by its primary principles, Angharad and the pastor. All in all the films does a magnificent job of capturing the lives of a family in a bygone time and place. There is no doubt that this is a great film and the fact that it beat out the likes of Citizen Kane for Best Picture is a testament to that fact. 9/10.

The story is told by an adult who remembers his childhood:Roddy McDowall gives a very sensitive performance in this part,he's simply the best actor of a topflight cast (to think that nowadays McDowall is remembered by the young generations mainly for his part of Cornelius the ape)All the scenes which involve the boy are simply wonderful,particularly the one with the daffodils (it 'd have been shot in color!),and the one with his father in his arms at the end.John Ford ,as usual , is a master when it comes to depict a small community who's got to stand together to survive.And he does not spare us the tragedies ,the bigotry ,the slander,but he adds humor,joie de vivre (the men,turning their nose on tea and wanting beer).

But sometimes it seems too good to be true:the boss's offspring marrying a miner's daughter,even when she's a beauty like Maureen O'Hara?The boss asking the poor father's permission?We are far from Emile Zola's "Germinal" :both stories happen about during the same era ,both with the miners' life both are radically different.Zola's world is a bleak,desperate world ,his depiction of the families' houses and meals (when there is food) and the pictures of Ford's movie are worlds apart.But the biggest difference is the omnipresence of the Lord's will:in "how green" the minister is a cool young handsome man (Pidgeon),in "Germinal" ,the priest's only a silhouette,but a selfish cruel one,unconcerned to man's plight:Zola's miners do not put their trust in a God anymore .

Wales and the east of France ,were they that much different?You can only say they were novels and movies,and reality is probably somewhere between them.

John Ford's film of social and familial change details the chilling effects hard economic times have on a large, but tight-knit Welsh coal mining family around the turn of the last century. Told in narrative flashback by the youngest of seven children (5 young men and a young lady) it begins when the coalmines are new, the valley still green, and the village cohesive and close-knit. As economic times worsen, the family and community fray and slowly disintegrate. The backdrop village becomes darker and smokier as the family fights valiantly to remain together. But unlike the treatment the story would probably get today, the family does not lose its dignity.

There is not much, if anything, to criticize in this movie, it's one of the best ever.