Never mind that the front yard has more holes than no-man's land after a WWI artillery barrage. Or that Pluto's up-and-down pump appears to drive Darlin' Jill into censored delight. Or that the rotund Pluto appears to be running for sheriff of Disneyland. No, this is not the deep South of Rhett and Scarlett; it's the cartoon South of Dog Patch and Lil' Abner. Take drop-dead sexy Griselda who delivers water to sweating boys in a see-through dress. Or, patriarch Ty-Ty, God's very own real estate agent. And, of course, mustn't forget Darlin' Jill with her own ideas about how to integrate the South. Don't get me wrong—this first half is mildly amusing with its exaggerated characters and heavy breathing, much like an R-rated cartoon.
And, had the screenplay followed through with this comedic style, a mildly memorable movie could have resulted. But it's like someone suddenly decided the movie needed to really "serious up". So, we get a second half that's more like over-heated Tennessee Williams than Al Capp's riotous Dog Patch. I don't know if all that contrived staging around the cotton mill is supposed to deliver a "message", but it's sure as heck heavy-handed and out of sync with the first half. Plus, there's that typical 50's ending that ties up every loose end in unbelievably happy fashion. I don't know which of the many versions (thanks to censors of the time) I saw, but I doubt any combination of this bi-polar disorder could work. Too bad, since it's a rare stab at departure for that strait-jacketed decade.
(In passing—I do like how Ty-Ty's manic mining for his father's gold gets resolved. We discover that despite appearances, he knows there's no buried gold. Instead, he keeps digging in order to "keep the family together" and the memory of his dad alive. He's not crazy— he just has a wacky way of expressing his "family values". Still, I don't think I'd hire him to do my gardening.)
And, had the screenplay followed through with this comedic style, a mildly memorable movie could have resulted. But it's like someone suddenly decided the movie needed to really "serious up". So, we get a second half that's more like over-heated Tennessee Williams than Al Capp's riotous Dog Patch. I don't know if all that contrived staging around the cotton mill is supposed to deliver a "message", but it's sure as heck heavy-handed and out of sync with the first half. Plus, there's that typical 50's ending that ties up every loose end in unbelievably happy fashion. I don't know which of the many versions (thanks to censors of the time) I saw, but I doubt any combination of this bi-polar disorder could work. Too bad, since it's a rare stab at departure for that strait-jacketed decade.
(In passing—I do like how Ty-Ty's manic mining for his father's gold gets resolved. We discover that despite appearances, he knows there's no buried gold. Instead, he keeps digging in order to "keep the family together" and the memory of his dad alive. He's not crazy— he just has a wacky way of expressing his "family values". Still, I don't think I'd hire him to do my gardening.)