Film Review: The Grapes of Wrath (1940)

To say that Great Depression had huge impact on history of Hollywood would be an understatement. Poverty and despair among American and world’s masses created need for film studios to deliver steady diet of escapist entertainment, while also turning political beliefs of ist creaters leftwards and, sometimes consciously, sometimes unconsciously, finding a way to affect content of Hollywood films. Yet, the period was stuck between the spectacular excesses of the Jazz Age and the noble struggle of Second World War and, as such, produced fewer great films in comparisons. Unsurprisingly, the greatest film dealing with Great Depression was made while the Great Depression was still going on. It was The Grapes of Wrath, 1940 drama directed by John Ford.

Film is based on the popular 1939 novel by John Steinbeck, which won Pulitzer Prize and later brought his author Nobel Prize for Literature. The plot begins in Oklahoma where the protagonist, young man named Tom Joad (played by Henry Fonda), is paroled after serving four years for manslaughter. When he returns to the farm which his family of sharecroppers had for generations, he finds it abandoned. Half-mad neighbour Muley (played John Qualen) and former preacher John Casy (played by John Carradine) explain that, while he was incarcerated, series of droughts and dust storms has devastated the area. Joads, like so many people around them, lost their livelihood and were ultimately forced to seek better life somewhere else. Tom manages to reunite with his family, led by Ma Joad (played by Jane Darwell), just before they are about to start long journey to California. Joads hope that they will manage to find jobs picking fruit there, but when they arrive, it turns out that it isn’t the end of their troubles. Local population doesn’t like newcomers, their employers brutally exploit them and, when they complain, they use paid thugs to keep them in line.

The Grapes of Wrath is considered to be one of the finest work in the career of John Ford. It was recognised as such immediately, resulting in him receiving his second Oscar for Best Director and thus cementing his reputation as one of the greatest film makers of Classic Hollywood era. Ford indeed showed great skill in directing this film, making the story with seemingly unappealing and depressive subject look attractive and intriguing to the audience. A lot of credit for that should go to Greg Tolland, whose black-and-white cinematography introduced some innovative lighting techniques, allowing some of the most important and memorable scenes to take place at night and look realistic. Like with many of his famous Westerns, a lot of scenes were directed at locations, including the famous Route 66 which Joads used to get from Oklahoma to California. Ford was also helped by experienced scriptwriter Nunally Johnson, who handled difficult task of faithfully adapting Steinbeck’s novel while doing it in a manner not to cause enmity of censors of Hays Office. Composer Alfred Newman has delivered a good soundtrack, written around popular folk song “Red River Valley”, which is at one time sung by Henry Fonda. Even producer Darryl F. Zanuck, known for his clashes with famous directors, gave constructive contribution to the film by suggesting effective use of sound during night scenes.

The most memorable contribution, at least if general audience is concerned, was given by the cast. Henry Fonda, relatively young actor at the time, fought tooth and nail for the role of Tom Joad, correctly assuming that it would help confirming his status as genuine star. He delivered one of his finest and most celebrated performance. The protagonist is man with violent temper who makes mistakes, but at the same time he is loyal family member and displays common sense, thus becoming someone audience could identify with. Jane Darwell, who won Oscar for Best Supporting Actress, is great in the role of matriarch who desperately tries to keep family alive. But character John Carradine almost steals the show with his brilliant portrayal of former preacher who lost faith but nevertheless kept some of the wisdom that would help steer protagonist to make the right decisions.

The Grapes of Wrath can be easily described as “anti-escapist” film and one of the rare Classic Hollywood films that wore its social (and implicitly political) message on its sleeve. It very realistically and rather explicitly for the standards of era reminds audiences of the sorry state of America at the time. Ordinary people are, through not fault of their own, deprived of their livelihood, memories, dignity and some of them even literally starve to death. All this isn’t the work of few rotten apples or corrupt individuals, but the capitalist system itself, which is rather non-personal and first strikes at Joads and other Oklahoma farmers as faceless Behemoth-like monster and later opportunistically exploits their misery in California orchards. Through the angry words of Tom Joad near the end authors expressed their outrage over such injustice and espoused views that can be easily seen as socialist. Somewhat ironically John Ford later developed reputation as one of the few right-wingers in predominantly left-wing Hollywood and this might have saved him from trouble during McCarthy era. Reputation of the film was saved by ending that was much happier than in Steinbeck’s novel and even more by Second World War which actually brought the end of Great Depression and provided proper happy ending to Joads. This, however, doesn’t mean that The Grapes of Wrath lost relevance. On the contrary, what happened during Great Depression is beginning to happen again in somewhat different ways and John Ford’s classic could serve as to all those who forgot some important lessons from history.

RATING: 8/10 (+++)

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