The film's stars, Loretta Young and Richard Greene, had already been teamed by Zanuck in John Ford's FOUR MEN AND A PRAYER. As a result, they have an easy rapport which combined with their considerable charms, helps put this over. Joining them in the richly produced Technicolor drama is Walter Brennan as Miss Young's uncle, an irascible old fellow who's still holding grudges from the Civil War days. He still likes to believe the South won!
At first, I couldn't figure out why Mr. Brennan earned an Oscar for his performance. The role is nothing more than a standard character part that any actor his generation could've played in their sleep. But in a way, Uncle Peter is the central force, certainly the one with the strongest ties to Kentucky history...and Brennan does do a decent job with a rather shocking death scene at the end.
The performers that stand out more for me are two other skilled character actors. Moroni Olsen plays Greene's estranged banker father-- they have a quarrel about money-- and Mr. Olsen does well conveying conflict, stubbornness and regret. The reconciliation scene that occurs later is particularly good.
Another actor who caught my attention is George Reed, a veteran of silent films. He is simply superb as the Negro grifter who changes loyalties and uses the problems between Young's family and Greene's family to his distinct advantage. He's playing a trickster character, and we can't help but like him because of his self-deprecating humor. I almost wish the movie revolved around him, because his scenes are highly entertaining.
Some modern reviewers, wading in the stream of political correctness, will find fault with the depiction of post-Civil War blacks. I won't defend any of that, except to say this is right around the time GONE WITH THE WIND was produced. There was an overly romanticized notion regarding the historical relationship between white landowners and the impoverished blacks that worked for them and lived with them.
I do not think any of the blacks in the story are presented too negatively here. There are no murderers or adulterers among them. And when Reed's character steals, he quickly demonstrates a guilty conscience.
Part of the film's focus is the history of Kentucky and the importance of horses to the economy. Young and Greene train a prized racehorse together with Brennan's help. We even get to see Miss Young take off on a horse during a dramatic storm. To my knowledge, she never had a scene of this type in any of her other movies. It's an exhilarating ride, from start to finish.
At first, I couldn't figure out why Mr. Brennan earned an Oscar for his performance. The role is nothing more than a standard character part that any actor his generation could've played in their sleep. But in a way, Uncle Peter is the central force, certainly the one with the strongest ties to Kentucky history...and Brennan does do a decent job with a rather shocking death scene at the end.
The performers that stand out more for me are two other skilled character actors. Moroni Olsen plays Greene's estranged banker father-- they have a quarrel about money-- and Mr. Olsen does well conveying conflict, stubbornness and regret. The reconciliation scene that occurs later is particularly good.
Another actor who caught my attention is George Reed, a veteran of silent films. He is simply superb as the Negro grifter who changes loyalties and uses the problems between Young's family and Greene's family to his distinct advantage. He's playing a trickster character, and we can't help but like him because of his self-deprecating humor. I almost wish the movie revolved around him, because his scenes are highly entertaining.
Some modern reviewers, wading in the stream of political correctness, will find fault with the depiction of post-Civil War blacks. I won't defend any of that, except to say this is right around the time GONE WITH THE WIND was produced. There was an overly romanticized notion regarding the historical relationship between white landowners and the impoverished blacks that worked for them and lived with them.
I do not think any of the blacks in the story are presented too negatively here. There are no murderers or adulterers among them. And when Reed's character steals, he quickly demonstrates a guilty conscience.
Part of the film's focus is the history of Kentucky and the importance of horses to the economy. Young and Greene train a prized racehorse together with Brennan's help. We even get to see Miss Young take off on a horse during a dramatic storm. To my knowledge, she never had a scene of this type in any of her other movies. It's an exhilarating ride, from start to finish.