Le fleuve sauvage

I had to say this movie was so stunning for me. The beginning black and white newsreel of a man who lost his three children in a flood is actually a real clip and it is my grandfather, so I was so amazed to see this. He passed away in 1972. My father lost his brothers and sisters in the flood which was in the 1930s Trumansburg, NY. I believe is was the flood of 1935. How amazing to see an actual news reel of my grandfather!!! I had a hard time finding the movie until I come across it on ebay. My father once had it, but he ended up losing it as the movie was not marked it was a blank VHS and it was unfortunately thrown away. I am holding onto the movie that I got until his birthday. It will make a unforgivable gift.

On May 18, 1933 the Federal Government under FDR's "progressive agenda", created the Tennessee Valley Authority, a vast scheme of regional development that involved, in part, the diverting of masses of water into valleys thus protecting large populations of people from the ravages of flooding rivers. Dams were created to assist in this enterprise and to harness the vast energy of the raging waters through turbines which in turn created electricity for communities that still lived in the "dark ages." WILD RIVER begins with stock news footage of the damage ravaged upon a community by a flood, in particular a heart rending first hand account of a man who has suffered a great loss. In comes the Tennessee Valley Authority (TVA) to save the day, a bastion of progress with Chuck Glover (Montgomery Clift) as its representative. The TVA, in order to complete its mission, must relocate all the residents within a particular area slated for water relocation but Mrs Ella Garth, an old hard-as-nails woman living on a small island in the middle of the valley, refuses to leave her land for any price. This is the context of WILD RIVER, but for director Elia Kazan, the TVA and its surrounding controversy are a microcosm for America's growing pains and the divisions between North and South that have persisted since the Civil War brought them to a head. Kazan contrasts rugged individualism, so much a part of the Nation's heritage, with an activist Federal Government citing the best interests of the community. The traditional attachment that the South has to "the land", where "the elements" are an accepted part of life is contrasted with the North's reliance on technology to tame the elements. The sophisticated Montgomery, full of enthusiasm and conviction for his mission, is immediately jolted into reality first by the steadfast conviction of the old landowner (in a towering display of acting by Jo Van Fleet), then by overt Racism "for a minute I forgot where I was.", and finally by his own mixed emotions. His passions are aroused by Carol (Lee Remick), Mrs Garth's stepdaughter, who is suffering from under stimulation, both physically and mentally. Widowed for over two years, she lives with her two children and the old woman on the island. When the handsome, educated Chuck arrives on the scene, she finds in him a source of combustion to feed a very deep well of passion. Once ignited, the fire threatens to envelope Chuck's controlled existence and intensify Carol's feelings of displacement. Rarely has confusion, vulnerability and molten sexuality been rendered more effective by an actress. Remick completely dispenses with any pretense about her sexual and emotional hunger and sets the screen on fire! While still smoldering, she manages to convey her separate, but equally passionate emotions for man and child during a tender scene between Clift and her daughter.

A touching unknown Kazan film ('60) that delves into the American psyche like Welles did in Touch of Evil ('58)..kind of. The plot is too basic and pure to explain, but it's not. This is also Bruce Dern's first film and possibly Rip Torn's. Monty Clift is (post-accident) still a brilliant actor (with half a shattered face for 10 years) who conveys the ambiguity of job-man to this lovely, young mother (Lee Remick) who was not even nominated for an Oscar, and it's down Alice's Rabbit Hole with Jo Van Fleet (OScar winner in previous Kazan film playing much older than she really was..again..like actors should be able to do in famous Hollywood films) decrepit, sane, just and bigoted ...all in the same paragraph (while sitting in a rockintg chair) with mud, dogs, Negroes, corruption, and the Tennessee commission.

A wonderful film. An 8 out of 10. Best performance = Lee Remick. There are other gliding Southern performances that grace the Magnolia trees, gator bait, and overalls that we have all come to love in an artistic, American way. Find this one!

Lee Remick's own favorite among her movies, and fine late Elia Kazan, this historic romance of the TVA and progress vs. tradition is beautifully crafted, gorgeous to look at, exquisitely acted, and quite frightening in its depiction of potential mob violence. Cleverly adapted from two books by Paul Osborn, it takes its time spinning out a gripping tale of a government agent (a restrained Montgomery Clift, his private life a wreck, but none of it shows on screen) trying to evict a stubborn, proud old woman (Jo Van Fleet, magnificent; Shirley Jones won over this? Really?) from her island so it can be flooded and power brought to all those poor Tennesseeans. He enlists the aid of her widowed-mom granddaughter, Remick, and the relationship between her and Clift is wonderfully ambiguous and rich. It's intelligent, moving, and convincing, and nobody went to see it in 1960. Very worth seeking out.

This is a most remarkable film, chronicling a piece of Americana and presenting a compelling image of the tragedy of progress. And it is Jo Van Fleet whose utterly convincing and captivating portrayal of an 80-year old hillbilly woman (she herself was 45 years old) makes WILD RIVER a masterpiece. To reiterate what others have stated, the fact that her performance was not even nominated for an Oscar is an outrage! I tend to disagree with other reviewers in regards to the subplot between Monty Clift and Lee Remick; I feel their scene slow things down and I find myself fast-forwarding past them to get to the match of will between Clift and Van Fleet. I do, however, understand the necessity of the Chuck/Carol love affair - here you have a stubborn old woman who simply refuses to leave her lifelong home and a sensuous young woman who simply begs to get out! And Monty Clift becomes nemesis and savior. But their scenes together are a total yawn when the good stuff involves the reason Clift is there to begin with - not just his cat-and-mouse with Van Fleet, but all the other obstacles he faces from the rest of the populace of the rural south in the 1930's.

Still, an incredible film and worth viewing over and over again.