James Ageeã¢â‚¬â„¢s Lost Review of John Fordã¢â‚¬â„¢s Film Adaptation of the Grapes of Wrath

The Grapes of Wrath

"The Grapes of Wrath" is nearly the exploitation of people by other people. Since that's unfortunately a perpetual blight on the face of mankind, it's also function of the reason why the cracking 1940 film version of John Steinbeck's novel remains and then timeless.

The motion picture, directed by John Ford and starring Henry Fonda, feels relevant to current times in myriad ways. The economy isn't as much of a mess now as it was during the Depression of the 1930s. Merely in that location'south the aforementioned sense of our primal values having gone out of whack. Corporations that are making good for you profits lay off workers as executives enjoy seven-figure bonuses. People are losing their homes for reasons they often tin can't even understand, to faceless entities they couldn't name. Whole families are forced to uproot, and like the iconic Joads travel an backbreaking journey to a destination that may hold no better promise for them.

In Steinbeck's novel, the regular farmers and folks are the sainted salt of the earth, at the mercy of bankers, powerful agricultural consortiums and the roughneck hooligans they hire to go on the workers in line. Although the film is more vague in its presentation of the moneymen , the enforcers are vivid and villainous. The fact that they wear badges and are called "deputy sheriffs" makes them fifty-fifty more than contemptible, since their vocation is not upholding the law only preventing its just application.

Another way in which "The Grapes of Wrath" has resonance today is in comparing the Okie farmers' reception to that of illegal immigrants. In that location's an amazing scene where the Joads terminate at a mod gas station to fuel upward, and later they've gone the attendants describe them as less than human, even swine, because of their shambling appearance and rickety old truck piled high with belongs and homo detritus.

In some other scene, the Joads encounter a roadblock. A mob carrying torches and weapons stops them and surrounds the truck, ordering them to plough around. 'We don't want whatever more Okies like you coming in into our town and taking jobs away from those who already alive here,' is the gist of their feeling.

Whatever one thinks almost the flood of people crossing our borders (mostly the Mexican one) to find jobs — I consider myself fairly moderate on this event, though I'm probably closer to the Minutemen than La Raza — the treating of other humans equally chattel must infuriate anyone with an ounce of empathy.

It seems that wherever they go, the Joads are viewed equally undesirable, even dangerous, simply considering they are poor and have few prospects.

This was perhaps the greatest performance of Henry Fonda'south career, though he would have to wait some other twoscore years to receive the Best Thespian Oscar. Every bit Tom Joad , the eldest son recently paroled from prison for manslaughter, Fonda has a harsher, more than defiant aura than we're used to. In his many roles Fonda was commonly a reassuring figure, the loyalist and company man, and then to run into him then convincing in this function as an anarchist — even if a reluctant one — is striking.

A couple more points. The cinematography is by Gregg Tolland, who would proceed to deliver his masterwork, "Citizen Kane," the following twelvemonth, and in "The Grapes of Wrath" one tin run across him warming up. The play of darkness and light is hauntingly beautiful, and characters will often move in and out of the calorie-free in the midst of a slice of dialogue. John Ford often uses depression angles to make certain moments more portentous.

Jane Darwell, as Ma Joad, won the Best Supporting Extra University Award, and deservedly so. Most people remember the rousing speech she gives right earlier the end credits ringlet, with the oft-cited line, "We're the people." Simply she has many other great moments throughout the movie, such as the scene where she burnsmementos in the wood stove earlier they're forced to vacate their habitation. It's a wordless scene, ripe with power and celebrity.

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