I like the storyline of this show,it attract me so much

Very very predictable, including the post credit scene !!!

Touches You

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

Texas cotton-picker Zachary Scott (as Sam Tucker) watches his uncle die in the fields and decides to take the old man's advice, "Grow your own crop." Fully aware of the challenge ahead, Mr. Scott takes his family to live as sharecroppers on a farm he hopes will become profitable. Scott, attractive wife Betty Field (as Nona), their two pre-teen children and cranky old Beulah Bondi (as "Granny") move into a dilapidated shack on the property. We never know what is holding the rickety structure up; built to fall, the leaning shack looks like it wouldn't stand up during a light breeze. The family's struggle becomes even more difficult than Scott imagined. Most notably, his son becomes deathly ill due to lack of milk and vegetables. There is no help from nasty J. Carrol Naish (as Devers), who lives next door. Far from neighborly, Mr. Naish won't even give a cup of milk to save the boy's life...This may be masterpiece-maker (see 1937's "La Grande Illusion") Jean Renoir's most admired "Hollywood" effort, if not his greatest produced in the US. One of the year's most acclaimed films, "The Southerner" won awards from the highly-regarded "National Board of Review" (Best Director) and Venice Festival (Best Film). While less frequently noted, Zachary Scott finished at #8 in the "New York Film Critics" poll as the year's Best Actor. The star also supported Joan Crawford in "Mildred Pierce" (later in 1945). Scott was at a career peak and his failure to receive an "Academy Award" nomination is somewhat surprising. Scott's performance for Mr. Renoir is excellent; it even helps to balance some of the film's more off-putting, cartoonish qualities. Veteran cinematographer Lucien Andriot contributes to the poetic bleakness, and Renoir's production designer Eugene Lourie shows his usual skills.******* The Southerner (4/30/45) Jean Renoir ~ Zachary Scott, Betty Field, Beulah Bondi, J. Carrol Naish

Two fine actors who were not served by the movies as well as they should have been are featured in this low-key drama. At least in Betty Field's case it seems it was by her own choice that she did not go further in films since she preferred the stage but Zachary Scott probably due to his rather angular looks and his skill at playing disreputable cads was typed in that capacity. Here however he plays a decent, honorable working farmer giving a fine performance matched every step of the way by Betty. Renoir's direction is subdued but finely judged. The whole picture is a worthwhile view for those who enjoy serious family dramas with accomplished actors.

The story of Zachary Scott and his family -- wife Betty Field, two young kids, and ornery Grandma -- who start with nothing and try to make a living growing cotton on a patch of Texas prairie.One might expect this to be a kind of rerun of 1940's "The Grapes of Wrath" but it isn't. "Grapes" was an object lesson in Marxism's transition from "false consciousness" to "class consciousness," except for Ma's sell-out speech about "the people that live" at the end. I'm not objecting to the Marxism, just pointing it out."The Southerner" doesn't pit the poor and exploited against the rich. Scott's family is really dirt poor, and their neighbors are a nasty family, but the antagonist here is not Management but force majeur. Scott has a corny speech in the midst of his struggling cotton patch in which he talks to the Man Upstairs and asks what's up. It's a reasonable question in context.Happily, Scott's family is not straight out of Walt Disneyland. Grandma is a whining, selfish pain in the neck who imparts dumb hick medical advice. Betty Field is more in the mold of the supportive wife, while the two kids are there mainly to provide a focus for worry.This poverty looks real. The people that work in the fields really look dirty. Everybody looks dirty. One kid get pellagra, the result of a lack of niacine from vegetables and fruits. The reason he gets it is that, during their first winter, the family simply has nothing to eat but flour, dried corn, and whatever "varmits" Scott and his dog can manage to bring home. It's horrifying to see how happy they are when Scott brings home a possum. You have to be pretty badly off to eat a marsupial.The plot follows a familiar trajectory, hope followed by disappointment, impending triumph blighted by disaster. But the acting is pretty good. None of the leads had a distinguished career but they're convincing enough here. The script gives us some neat character studies too, including J. Carrol Naish as the embittered and jealous neighbor with the nasty son and the generous daughter. The last scene involves the rescue of the family cow (they finally got one) from a flooded river and is well executed. And the director, Jean Renoir, stages one fist fight and two comic episodes of violence in unexpected ways. Not brutal, just unexpected.The ending, as you might expect, has everyone bravely putting their shoulders back against the wheel, their faces bright with hope -- even Grandma's.

The Southerner (1945)This is such a deliberately sentimental, salt-of-the-earth story, filmed with intelligence but no particular innovation, it's hard to believe the same director made one of my favorite movies, "Rules of the Game," with all its energy and sophistication. Can it be even as relevant as it seems to want to be, six years after the depression ended, and everyone's attention on the war, the bomb, and the returning soldiers with no jobs? In fact, the more you watch it the more it seems like a parody--but to make a tongue-in-cheek movie about something this earthy would be a kind of slap at the soul of the country.So what's to be though, or said? It almost has the documentary feel of a Flaherty film (from twenty years earlier). The heartfelt and rather sympathetic tone is offset (for me) by the obvious types played out--the terribly good neighbors and the backwards mean ones, the struggling good wife and the struggling good husband (both smart and stubborn and beautiful). You can have your preferences, of course, but if I compare to "Grapes of Wrath," as one example, I see a whole different kind of movie making, from acting style to photographic intensity to a story with complexity as well as sentimental warmth.But let's look at the other hand. This is not a slick Hollywood film. It was produced (funded and controlled) by the director himself, and he was able to keep what I call a European feel to the filming, something more honest. And the themes may well come from the huge trauma of Renoir's own life, having escaped from Europe and made an anti-Nazi film but felt adrift. This is his first straight American film, and he may in fact not know his subject directly, but only through the FSA photographs, LIFE magazine stories, and the book that it was based on, a pop fiction bit of pulp fiction in its own way.Heartbreak, bad weather, and ever transcendent human compassion merge together in this well made but imperfect film, sometimes regarded as Renoir's best American effort. Take it on your terms.