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.

As a social issue picture and an early breakout effort of Bette Davis, this movie shines! Miss Davis devours every scene she's in with her typical gusto! And it's her first performance as a Southern belle and contains the famous line, "Ah'd love t'kiss you, but Ah jes washed mah hayuh." Richard Barthelmess plays Marvin Blake, a poor sharecropper's son, to whom Bette's character Madge is drawn. The only problem is that Richard was thirteen years older than Bette and too old to be playing this part and it shows. This is not helped by the fact that he spends a large part of the picture overly made up. But he does a fine job and when he gets to play a wonderful scene at the end of the movie, giving an eloquent speech on behalf of the poor tenant farmers from whom he came, he relishes the opportunity! The tension of the movie is contained in Marvin's torn loyalties, the division of the haves and the have nots, and his physical attraction to Madge.My Mom, who watched this movie with me, commented that Bette was hyperactive, which goes a long way to explain her constant motion! This is a movie that explores feudalism in Thirties America and is a good commentary on injustice. The photography is lovely and it's directed by Michael Curtiz. (Casablanca) See it if you get the chance and enjoy!

With all the emphasis on Bette Davis in this film, it is easy to overlook the musical interest. I counted four different musical groups, each assigned to a different "class". There was the marching band at the funeral (black used at a poor white event), the jug band (white, at the poor white party), the jazz band (black, at the rich white party), and the blues singer. This is a surprisingly rich array of styles.Interestingly, only the blues singer (Clarence Muse) is credited.

For those who are looking for a thoughtful and socially relevant Hollywood film, Cabin In The Cotton is it. The movie is rather quaint, even compared to other films of its time, but that's part of its charm.The subject matter is unusual, in that both the struggling sharecroppers, and the wealthy land owners are portrayed as flawed individuals. Bette Davis performance as Madge gave her an early career opportunity to impress critics. Unlike her future roles, though, it isn't large or challenging. There is enough there to allow her to be a vulnerable,spoiled, and sexy minx. She also has eccentric dialogue and a glamorous wardrobe. Richard Barthelmess, in the lead role, as well as the supporting players, give very authentic performances. The cinematography is striking,giving the film a realistic rural atmosphere. A powerful and intelligent scene near the end reminds us that, in any profession, the necessary relationship between labor and management will always be a difficult battle.