punishmentpark 'Tobacco road' is very typical and very loud. A lot of singing and screaming, and relatives playing tricks on each other, because they are... very, very poor, and not much, if at all, educated. You could look at it as a comedy (Imdb indicated so), but it's not quite that to me. Sure, the recurring loose board on the porch and such other stuff work that way, but mostly, all the other 'fun' has a layer of tragedy right underneath it.The acting is very enjoyable, with poor old struggling Jeeter Lester by Charley Grapewin as a personal favorite. But it's also terrific watching Gene Tierney as Ellie May, as the seductress poor people style; crawling through the mud, just to get a taste of a turnip. Screamin' Dude ("Now, 'dude', that's a name no one would self-apply where I come from.") Lester was something else as well; kicking and screaming the whole way through, going crazy for nothing more than a plain car horn. Yes, this film is fun, but tragedy lurks everywhere, even if it's all lined with plenty of comedic and sentimental elements.It's not for everyone, and I don't particularly want to watch it over and over, but it's still a pretty good, enjoyable film. A good 7 out of 10.

ferbs54 In the 1940 John Ford masterpiece "The Grapes of Wrath," Charley Grapewin played a Depression-era Okie patriarch who dies after being forcibly evicted from the land on which his Joad family had lived for generations. The following year, in Ford's "Tobacco Road," Grapewin enjoyed a much larger role, playing a somewhat similar character. Here, he played Jeeter Lester, the lazy, shiftless head of a "poor white trash" family in Depression-era rural Georgia that is about to be evicted from its ancestral abode. Based on Jack Kirkland's 1933 stage play (the longest-running Broadway show at the time, as the film's opening credits tell us), which was itself based on an Erskine Caldwell novel, "Tobacco Road" gives us a typical week in the life of the Lesters. We meet Jeeter and his put-upon wife Ada (Elizabeth Patterson), borderline retarded son Dude (William Tracy) and imbecilic daughter Ellie May (Gene Tierney, in her third film). Desperate for food, the poverty-stricken Jeeter steals a bag of turnips from his son-in-law Lov (Ward Bond), who is having major troubles with his 13-year-old wife but spurns the fawning attentions of 23-year-old Ellie May because she's just too durn old! Dude eventually marries a woman a good 20 years older than himself, a nearby evangelist named Sister Bessie (Marjorie Rambeau), only because she has promised to buy him a car with a horn to toot (Dude, for some reason, has a horn fixation!). This $800 automobile, however, gives our man Jeeter some big ideas on how he might raise the $100 he needs to save his land....I must confess that on my initial viewing of this film, I was somewhat appalled at the cracker-barrel inanity of some of the proceedings. Played mainly for laughs, the picture struck me much more favorably on a repeat viewing. Grapewin is a marvel in his role of Jeeter, giving practically an Oscar-worthy performance, Ford's direction is typically sensitive and impeccable, and DOP Arthur C. Miller's lensing is just beautiful, never more so than in the scene where the Lesters walk to the poor farm amidst falling leaves. (Miller would deservedly win an Oscar for his work on that same year's "How Green Was My Valley.") Screenwriter Nunnally Johnson's script is very amusing, as well; he would go on, 13 years later, to write the script for the Gene Tierney film "Black Widow." And speaking of Gene (my main reason for renting this film in the first place), in her 1979 autobiography "Self-Portrait," she tells us that she "was sprayed each morning with a thin coat of oil--over my arms, legs, and face--after which dirt was rubbed on" to achieve her begrimed character's look in this film. She also mentions that she was so embarrassed by the idiot-seduction scenes with Bond that she had to ask Ford to clear the set when these were shot. Gene is wonderful as always here, but, sadly, only gets to utter six lines of dialogue, all told. "Tobacco Road" was her first film with Dana Andrews (playing a kindly, normal neighbor of the Lesters, who almost seems to be of a different species!), although they share no scenes together; the two would go on to appear in "Belle Starr," "Laura" (the classiest of film noirs), "The Iron Curtain" and "Where the Sidewalk Ends." The Lester family is referred to as "just naturally trifling" by a police chief during the course of this film, but the picture itself is hardly a trifling affair. Though certainly not the classic that is "The Grapes of Wrath," it is nevertheless an artful picture, featuring some wonderful performances and amusing moments, ultimately leaving us with a sense of sadness regarding these poor folk who are now "gone with the wind (hmm, where have I heard THAT line before?) and the dust...."

Gooper As a longtime Ford fan, I only recently saw 'Tobacco Road', and it more than exceeded expectations. It's instantly one of my favorite comedies. It's actually very edgy and adventurous, sort of a wry antidote to the virtuous 'Grapes of Wrath' that Ford was obliged to be so respectful with.I howled with pleasure, as I would with any fringe film with a comedic angle. In this film experience, you don't need to be tuned in to 'revisionist film theory' when you're watching it.Dennis Hopper would have fit perfectly in it. Or Billy Bob Thornton. Or Jack Nance. As it is, the cast is perfect, from Slim Summerville on down. William Tracy's manic goofball performance, which some viewers think is 'over the top', is just plain crazy brilliant and is even ahead of its time (think early Jerry Lewis, Jim Carrey...).Everything automotive in this picture is particularly hilarious, forecasting 'The Beverly Hillbillies' and 'It's A Mad Mad Mad Mad World'. The frenzied car chaos is inspired, from start to finish.I know this picture has been either trashed or quickly written off in every John Ford biography, but I find it to be a genuine treasure because I'm taking it just for what it is - not as a book, not as a play, but as an excellent production by the masterful Ford, whose touch is apparent in every shot and speech.Naturally, it is a companion piece to that other Caldwell examination of Southern oddballs, 'God's Little Acre', which is its own sort of gem due to Anthony Mann's care and attention. Then there's Kazan's 'Baby Doll', which is about as bizarre as they come. Not to mention the Coen Brothers' much lauded 'O Brother Where Art Thou'. How come that film wasn't so derided for 'making fun of poor white Southerners' like 'Tobacco Road' has been? Part of the American Experience has been to point out our oddballs, and show that they are 'possible' here. 'Tobacco Road' is all about such an examination, and Ford pulls it off with just as much aplomb as he does with families in Wales or migrants from Oklahoma. It is what it is: a great and perceptive comedy. Sort of like Balzac. Or for that matter, like Don Knotts' series of Americana comedies.There is a dandy 'written in sand' title sequence (another counter to 'Grapes' and its rough-sketch titles), and Arthur Miller's lithographic camera-work is typically outstanding, almost like the works of Thomas Hart Benton. David Buttolph's cheerful and (Alfred) Newman-like score is perfectly appropriate without being a parody.I'm powerful sorry that Erskine Caldwell and Nunnally Johnson were disappointed in the picture, but I think Zanuck and Ford really knew what they were doing.'Tobacco' is one of the more delightful film discoveries I've had. I only wish Gene Tierney was in it more.

eminges By sheer chance, I happened to get hold of copies of three difficult-to- find DVD's within about a month of each other: Tobacco Road, Tortilla Flat, and Song of the South (this is the 21st century, kids, EVERYTHING is available if you look hard enough).What a nasty insight into the mindset of America in the 1940's: let's all us respectable white folk rush to buy tickets to see darkies, white trash, and wetbacks demean themselves. Here's a quick test to see if you want to hunt this particular vile artifact of our politically incorrect past down: do you think Gene Tierney rolling around in the dirt trying (unsuccessfully) to get a genetic defective to come over and give her a little pleasurin' is A) side-splittingly hilarious B) stomach-wrenching? If your sides aren't already aching with laughter, pass.