JohnHowardReid NOTES: Keighley told me he was the "dialogue director" on this film. Also see "Films in Review" October 1974.COMMENT: Although the Foreword is careful to point out that this film isn't going to take sides between the planters and the peckerwoods, it is pretty clear which side the scriptwriters favor. Certainly the planters do get a few arguments in, but Berton Churchill who plays his characteristic role of blustering double-dealing is hardly an ideal spokesman. Still, leaving aside the question of the rights and wrongs on either side - which is now only of historical interest anyway - the film has an engrossing story which is just as exciting to-day as when it was first presented back in 1932. If anything the film is much less dated than the usual plantation drama thanks to the skilled direction of Michael Curtiz which concentrates on a crisp and realistic handling and the script's development of character and its avoidance of some of the more usual melodramatic clichés. Two aspects I like are the genuine affection that obviously exists between father and daughter, never overtly stated but plain from their bearing and attitude towards each other, and the fact that Bette Davis receives no more than a climactic snub for her "sin" - actually none of the participants are punished for their crimes. Yes, this realistic script is a far cry from the tinselly, if idealistically "moral" reversions of normal human behavior that Hollywood was to turn out under the repressive hand of the Motion Picture Production Code. Curtiz's realistic handling is hampered in the early stages by the use of obvious stock shots and process backgrounds. Fortunately, this practice ceases quite early on. Curtiz directs the whole film in short, brisk takes (superlatively edited by George Amy). Barney McGill's exquisite photography also ranks as a major asset not only for his broodingly atmospheric night scenes and the sparkle and whiteness of the plantation house episodes, but for the wonders he has done with Bette Davis. Davis certainly looks most attractive in this made-to-order part of the rich and spoilt daughter. She acts with appealing vivacity too, making the most of such lines as "I'd like to kiss you, but I've just washed my hair!" Co-star Richard Barthelmess is inclined to over-do the facial expressions indicating indecision and is not too believable as a poor sharecropper (he is too well-groomed and speaks too well), but I like him. He has a personality that is exactly right for this kind of role. The rest of the cast is most capable.

Edgar Allan Pooh . . . (that is, censored, cut out, and excised) from the not-so-Good Books on the shelves of U.S. President Putin's For-Profit Charter Brainwashing Shacks, overseen by his Secretary of Miseducation, Pyramid-Scheming Billionairess Betsy "Amway Calling" DeVos. WHICH half, you might wonder? It's all those verses where Jesus says that Chris Christie could pass through the Eye of a Needle easier than a Rich Fat Cat One Per Center Putin Oligarchical Traitor getting through the Pearly Gates, as well as the Parables about Good Mexicans tending to newly-impoverished American 99 Per Centers while Putin's Puppet Rump, Paul Ryan, and Mitch McConnell cross to the other side of the road. With THE CABIN IN THE COTTON, Warner Bros. warns the U.S. South of a Day when their Castrated Version of the Bible and their multi-generational plot to stunt most of their population through deficient nutrition, exercise, and schooling will result in Backwards Masses capable of Rigging Sacred Elections in favor of self-confessed Red Commie KGB-backed Serial Finger Rapist Game Show Hosts. Warner Bros. gave the Confederate Fat Cat Traitors a Choice: Pay Reparations NOW (1932), or face Repercussions LATER (2017). According to the Book of Revelations, it won't be long Today until the Red State Boulevards run shoulder-deep with Oligarchical Arterial Spray. Warner tried to warn of this with its CABIN IN THE COTTON, but this message fell upon cob-webbed wallets.

MartinHafer This was not a "big" movie from Warner Brothers, but a relatively inexpensive film starring its lesser actors. It just so happens that one of these "lesser" actors turned out to be a very young and vivacious Bette Davis. Sure, her accent is a bit broad, but she does a lovely job playing the happy-go-lucky daughter of a rich Southern land owner. Richard Barthlemess plays a poor but decent guy caught between loyalties to the land owner and the sharecroppers he knows and loves. Perhaps the biggest down-side to this film is Barthelmess--his character often seems very weak and wussy--though he does a great job in the end standing up to both sides. On the plus side, the dialog and direction is generally very good, and like most Warner films it's great entertainment tied to an interesting social message. Not the best film by any means, but well-made and worth seeing.

David Atfield The problems of Capital and Labor are well explored in this tight little drama set amongst cotton tenant farmers and their landlords. Striking cinematography and excellent direction, from Michael Curtiz, combine with a first-rate and intelligent screenplay to create a memorable film. The two sides are well presented, both good and bad, and, although the solution for reconciliation is never really explained, the result opens up areas for debate that are still relevant today.The performances from everyone are very fine - the supporting cast is an extraordinary group of unique faces and personalities. And then there is Bette Davis, in one of her first roles, looking sensational (platinum blonde) and being very naughty - an implied nude seduction is a highlight - as is that famous line. She eats poor Richard Barthelmess for breakfast, spits him out at lunch, and devours his remains for dinner. Barthelmess' performance is wonderful - he was one of the best actors of the silent era and here is strong in one of his rare talkies. He is so good that he almost makes you forget that he is far too old for the idealistic boy straight out of school that he is supposed to be playing. Great film - see it.