Copyright 30 December 1938 by 20th Century Fox Film Corp. New York opening at the Roxy, 23 December 1938. U.S. release 30 December 1938. U.K. release: March 1939. Australian release: 13 April 1939. 8,630 feet. 96 minutes.
SYNOPSIS: A longstanding feud between two Kentucky families is resolved when the son of one falls in love with the daughter of the other and he helps her horse defeat his own father's entry in the Kentucky Derby.
NOTES: Academy Award, Supporting Actor, Walter Brennan (defeating John Garfield in Four Daughters, Gene Lockhart in Algiers, Robert Morley in Marie Antoinette and Basil Rathbone in If I Were King). With a domestic rentals gross of $1.5 million, an equal second at U.S./Canadian ticket-windows for 1938.
VIEWERS' GUIDE: Okay for all.
COMMENT: All eyes at our recent screening were originally focused on Walter Brennan, but we soon tired of his performance. Not only is it the same old portrait we're already familiar with, but his acting is exaggerated and his make-up unconvincing. No way would we have voted him an Oscar ahead of any of the other contenders.
No, the person who soon took our attention was Loretta Young. Never has she looked more beautiful or acted with such charm, conviction and finesse. Not only does she look really attractive in Technicolor but her costumes have a style and appeal that still seems fashionable and captivating in 2017.
The other players pale beside Miss Young. Best of the cameo artists is Willard Robertson. Rochester's bit as a singing groom also drew our attention. But Moroni Olsen is stiff and unlike-able (fortunately these qualities suit his role); whilst Richard Greene has plenty of the eager-beaver about him, but lacks the sort of macho charisma we expect in a male lead. Just think what someone like Clark Gable could have done with the part!!
Some of our favorite character players flit by in small roles, including Douglass Dumbrille and Charles Lane. Alas, our pet aversions, the Watson brothers, are both in this movie, but confined fortunately to the 1861 Prologue scenes.
Although the story is rather unusually constructed — the Prologue is followed by a short documentary section as off-camera narrator John Nesbitt sings the praises of Kentucky, and only then does the plot proper begin — it's too slight and predictable to retain the interest for long. This of course is where Technicolor comes in. When the scenery is so attractive and it's dressed with such professional élan, it doesn't really matter that the characters were clichés and the situations old-hat when Shakespeare was a lad.
OTHER VIEWS: Despite having to carry a wet hero (and his dad), plus indulge a scene-chewing character player, director Butler manages to get a lot of entertainment value out of a rather simple and thoroughly predictable little yarn in which not a single family horse-racing cliché is missed. Part of the reason for this success is undoubtedly producer Zanuck's free hand with the studio's money, including his decision to strengthen the picture with Technicolor. Winsome Loretta Young looks mighty fetching! — J.H.R. writing as Tom Howard.
There are some pictures that need color, others for which color is simply an added attraction. Kentucky belongs firmly in the former category. Yet oddly it was frequently aired in black-and-white on TV in the 60s, 70s and even in the 80s. Anyone watching this movie in black-and-white will be bored witless. But in color, the movie is great entertainment. Made with all the customary Fox expertise, including superb photography and marvelous sound, this up-to-date color print of Kentucky certainly hits the spot! Mind you, I can't see why Walter Brennan created such contemporary excitement. I've seen him give some deserving charismatic performances — The Westerner for example — but Kentucky is strictly cornball. — J.H.R. writing as George Addison.
SYNOPSIS: A longstanding feud between two Kentucky families is resolved when the son of one falls in love with the daughter of the other and he helps her horse defeat his own father's entry in the Kentucky Derby.
NOTES: Academy Award, Supporting Actor, Walter Brennan (defeating John Garfield in Four Daughters, Gene Lockhart in Algiers, Robert Morley in Marie Antoinette and Basil Rathbone in If I Were King). With a domestic rentals gross of $1.5 million, an equal second at U.S./Canadian ticket-windows for 1938.
VIEWERS' GUIDE: Okay for all.
COMMENT: All eyes at our recent screening were originally focused on Walter Brennan, but we soon tired of his performance. Not only is it the same old portrait we're already familiar with, but his acting is exaggerated and his make-up unconvincing. No way would we have voted him an Oscar ahead of any of the other contenders.
No, the person who soon took our attention was Loretta Young. Never has she looked more beautiful or acted with such charm, conviction and finesse. Not only does she look really attractive in Technicolor but her costumes have a style and appeal that still seems fashionable and captivating in 2017.
The other players pale beside Miss Young. Best of the cameo artists is Willard Robertson. Rochester's bit as a singing groom also drew our attention. But Moroni Olsen is stiff and unlike-able (fortunately these qualities suit his role); whilst Richard Greene has plenty of the eager-beaver about him, but lacks the sort of macho charisma we expect in a male lead. Just think what someone like Clark Gable could have done with the part!!
Some of our favorite character players flit by in small roles, including Douglass Dumbrille and Charles Lane. Alas, our pet aversions, the Watson brothers, are both in this movie, but confined fortunately to the 1861 Prologue scenes.
Although the story is rather unusually constructed — the Prologue is followed by a short documentary section as off-camera narrator John Nesbitt sings the praises of Kentucky, and only then does the plot proper begin — it's too slight and predictable to retain the interest for long. This of course is where Technicolor comes in. When the scenery is so attractive and it's dressed with such professional élan, it doesn't really matter that the characters were clichés and the situations old-hat when Shakespeare was a lad.
OTHER VIEWS: Despite having to carry a wet hero (and his dad), plus indulge a scene-chewing character player, director Butler manages to get a lot of entertainment value out of a rather simple and thoroughly predictable little yarn in which not a single family horse-racing cliché is missed. Part of the reason for this success is undoubtedly producer Zanuck's free hand with the studio's money, including his decision to strengthen the picture with Technicolor. Winsome Loretta Young looks mighty fetching! — J.H.R. writing as Tom Howard.
There are some pictures that need color, others for which color is simply an added attraction. Kentucky belongs firmly in the former category. Yet oddly it was frequently aired in black-and-white on TV in the 60s, 70s and even in the 80s. Anyone watching this movie in black-and-white will be bored witless. But in color, the movie is great entertainment. Made with all the customary Fox expertise, including superb photography and marvelous sound, this up-to-date color print of Kentucky certainly hits the spot! Mind you, I can't see why Walter Brennan created such contemporary excitement. I've seen him give some deserving charismatic performances — The Westerner for example — but Kentucky is strictly cornball. — J.H.R. writing as George Addison.