"Racist? Me? My best friends are black; Woody Strode and my servant who's lived with me for thirty years. I've even made a picture exalting the blacks! I'm not a racist! I consider the blacks as completely American!" - John FordJohn Ford's "The Sun Shines Bright" stars Charles Winniger as William Priest, a kind, elderly judge operating out of old Kentucky. Structured as a series of vignettes, the film watches as Priest finds work for lazy black men, sympathises with prostitutes, defends wrongly accused African Americans, challenges racist lynch mobs and forges bonds between Confederate and Unionist types, the American North and South holding hands under the magnificent spectacle of the Star-Spangled Banner.In other words, it's another John Ford flick about "what it means to be American". What's interesting about "The Sun Shines Bright", though, is the way it manages to be sympathetic to the plights of the downtrodden (prostitutes, women, African Americans etc), whilst also being totally conservative, racist and reactionary. In this regard, Ford's film is filled with racial stereotypes (Stepin Fetchit, cast a dimwitted man-child), is incredibly paternalistic, pretends to decry outlaw justice whilst celebrating the vigilante killing of bad guys, panders to Confederates and exalts the moral and ethical superiority of the Law (which in most Ford flicks, equates with the bowing down to military/patriarchal authority). "The Sun Shines Bright" was based on a series of "Judge Priest" stories by Irvin S. Cobb. It's also a loose remake of Ford's 1933 film, "Judge Priest". That film opened with text which exalted the "tolerance of the late 1800s" and the "wisdom of an almost vanished generation". This bogus sentimentality, and ahistoricism, is replicated in "The Sun Shines Bright", both films nostalgically pining for a Lost Cause mode of southern identity, but doing so in the guise of a statement against prejudice and intolerance. This is not surprising. Most films "about" or "against" racism ("Colour Purple", "Monster's Ball", "Sayonara", "The Blind Side" etc) are thoroughly racist. But "The Sun Shines Bright" goes further. It manages to outright reassert the patriarchal slave order of the Old South, and endorse its standard iconography of racial subjugation, whilst doing so via a mechanism of reform.Most Ford flicks take place within a burgeoning civilisation on the edge of a beautiful wilderness. Ford then typically gives us little bastions – usually army bases, forts, small towns etc – at which American "values" take root or battle for victory. In "The Sun Shines Bright's" case, such values include tolerance, law, justice, community, the virtue of local elections, independence and so forth, though blacks remain "too young to vote", as our esteemed Judge reminds us.Aesthetically, "The Sun Shines Bright" is strong, Ford's framing and cutting immaculate. The film overloads on antebellum nostalgia/sentimentality, but was regarded by Ford as one of his finest creations. The film's racist caricatures are typically explained away by critics as being a "product of their time" (some say Stepin Fetchit's portrayal is "subversive"), but that idea is nonsense. 1953 wasn't the Dark Ages, and Western artists have been sympathetically portraying blacks since the 1700s. In 1960, Ford would attempt to address accusations that his films depict a thoroughly whitewashed version of the Old West (by 1870, approximately 290,000 African Americans lived in the sixteen territories comprising the West, approximately twelve percent of the population) by directing "Sergeant Rutledge". That film revolved around a "Buffalo Soldier" (played by Woody Strode as an archetypal "strong, righteous black man") who is wrongfully accused of raping a white woman during the Indian Wars. Here Ford attempts to debunk the myth of the "black rapist", a spectre which has hung over cinema since "The Birth of a Nation", but as is often the case with Ford, such well meaning gestures are negated by the film itself; this was ultimately a picture which ignores the fact that it is about oppressed minorities armed to slay oppressed minorities, and one which has total faith in the dignity and morality of military service, an institution which Ford's hero naively believes provides "freedom" and "self respect". Released during the rise of American Civil Rights movements, black audiences rightfully rejected "Rutledge"; you cannot reconcile black pride and black sexuality with the authoritarian, racist system of the white-controlled military.Within his own life, Ford embodied similar contradictions. As the child of immigrants, he was the member of a persecuted racial and religious minority, a fact which led to him identifying with anyone who faced victimisation. In the early 1950s, when Hollywood was being mauled by the House Un-American Activities Committee (HUAC), which investigated Communist influence in the film industry, Ford would also speak out against the attempts of right-wing directors to take over the Directors Guild of America and enforce their own blacklisting policies. On the flip side, Ford also allied himself with the conservative Motion Picture Alliance for the Protection of American Ideals (MPAPAI), which attempted to search out Communists in the industry. Such contradictory motions are common in his later works.4/10 – Worth one viewing.

John Ford had a fondness for The Sun Shines Bright. It's a beautiful tale of an honorable old man who even while facing a tough re-election for town judge refuses to be a hypocrite or play up to a lot of his town's hypocrites.The film was done before as Judge Priest with Will Rogers in the title role. As good as The Sun Shines Bright is, it would have been even better had John Ford not chosen to use Stepin Fetchit in the same part he had in the original film. Stepin Fetchit is, well Stepin Fetchit. Funny thing is that a whole lot of black players are used in this film and their roles are not as stereotypical as his is.Charles Winninger is every bit as good as Will Rogers in the lead. If you can imagine Captain Andy from Show Boat had he taken up the law instead of show business, you get some idea of what Judge William Pittman Priest is all about. Justice is blind in his courtroom, but it isn't deaf and dumb also. In Winninger's life as well as his courtroom.He's up for re-election in his small Kentucky county and he's got a hard fighting opponent in prosecutor Milburn Stone. Priest is a proud Confederate veteran, but he's not above saving an innocent black kid from a lynch mob.Nor is he above a little Christian charity when it comes to seeing a fallen woman who just came to town to see her daughter before she died given a proper funeral service. When no accredited minister will do the service, Winninger fills in at the pulpit and has some choice words taken from the parable about the woman caught in sin.My favorite scene in The Sun Shines Bright is the funeral procession for the same woman. Winninger is the head of the local United Confederate Veterans and Henry O'Neill is the head of the local Grand Army of the Republic chapter. They are friends and friendly rivals. Yet on that day Republican O'Neill and Democrat Winninger both lead the funeral procession. Too bad our Republicans and Democrats of today can't agree on some common values.How does this impact on Winninger's election? You'll have to watch the beautiful and poetic The Sun Shines Bright to find out.

When discussing this enriched remake of his 1934 film featuring Will Rogers, director John Ford, not one to speak with crossed fingers, is quoted by Peter Bogdanovich: " 'The Sun Shines Bright' is my favorite picture - I love it. And it's true to life, it happened. Irvin Cobb got everything he wrote from real life, and that's the best of his Judge Priest stories." Three Cobb stories: "The Sun Shines Bright", "The Man From Massac", and "The Lord Provides", form the basis of a Laurence Stallings screenplay set in 1905 Fairfield, Kentucky, where incumbent magistrate William Priest (Charles Winninger in a rare starring turn) faces a close election against Yankee prosecutor Horace Maydew (Milburn Stone), while traces from a good many of Ford's customary themes are in place, including his relish for lost causes, Christian based parables, and the significance of closely-knit communities. When 20th Century Fox destroyed expurgated negatives from his initial Judge Priest effort, Ford decided to re-film it, and this unabashedly sentimental essay displays remarkable artistry from this highly visual director, as evil is mastered by simple good nature, even without the "director's cut" that restores over ten minutes of important footage, and is not widely available. Ford employs many of his favourite stock company players including two, Stepin Fetchit and (for the last time in a Ford picture) his brother Francis, who had been cast in the 1934 production, and all perform with enthusiasm, Winninger earning acting honours for his full-blooded performance, and viewers will appreciate the magnificent funeral procession and service scenes along with others where Ford's brother-in-law, assistant director Wingate Smith, utilizes his outstanding control of extras, a superlative element in a film that benefits from many such, and from which was reproduced a large print that was placed over the head of Ford's bed until his death.

I feel like I have to walk over eggshells to say anything at all about this movie, Ford's remake of his earlier, 1934 Will Rogers vehicle Judge Priest. Both films have some hard-to-take racial stereotypes, first and foremost in the personage of Stepin' Fetchit, who, along with Butterfly McQueen, stand as the ugliest black performers of their era. But the offense doesn't stop there. The Sun Shines Bright contains a plethora of objectionable material, some of which probably well deserves to be objected to, and some of which will be construed as hateful by modern audiences when it really isn't. The story concerns an aging judge running for re-election in Kentucky, somewhere near the Mason-Dixie line around the turn of the 20th Century. Judge Priest is a Confederate veteran, as are many of his friends. They celebrate this with open nostalgia, although there isn't really any hatred between them and those in the county who fought for the North. The main story of the film is of Judge Priest's deep humanity, and his love for all people. There are two main plot threads, that of a lynch mob out to hang a young black man and that of a dying prostitute, who happens to be the long absent mother of one of the town's outstanding young women. Priest must defend the black man from the mob and arrange a dignified funeral for the prostitute, even though it very well could cost him the election. The film's treatment of African Americans seems quite more in tune with the 1930s than the 1950s. The original film, Judge Priest, might be less offensive, actually. Yes, the blacks in that film were caricatures. However, the star of that film, Will Rogers, who famously never met a man he didn't like, seemed more like a friend to the African Americans around him, including Stepin' Fetchit and Hattie McDaniel. He even sings with McDaniel at one point. Priest in that film seems something of an outcast from the whites; they respect him, even love him, but he is not exactly one of them. In The Sun Shines Bright, Priest spends most of his time with his fellow veterans. Stepin' Fetchit is there most of the time, too (he even attends a veterans' meeting with a gray cap on his head), but he and Priest don't seem like buddies. Fetchit is his servant. Even though Fetchit and McDaniel were also his servants in the earlier version, like I said, they seemed more like friends. When Judge Priest helps out the African Americans of his county in the later version, his actions seem more patronizing than friendly. He is the father figure to every black person. At the end of the film, it almost seems like they're worshiping him. Worse yet, when the election is held, we see everyone vote except for the blacks. It's not even implied that they have already voted. Despite these very important problems, The Sun Shines Bright is a very good film that would indeed inspire a deep love for humanity long before it would ever inspire bigotry. I would never dismiss the problems of the film, but I think that what it accomplishes is much more valuable than what most would damn it for. 9/10.