Yawn. Poorly Filmed Snooze Fest.

The acting is good, and the firecracker script has some excellent ideas.

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

This is a dark and sometimes deeply uncomfortable drama

At the time this was shot there was a distinct lack of sound technique and for a while it's disconcerting to hear Dana Andrews and Walter Brennan talking in the heart of a swamp in the the clear 'clean' tones that all but scream 'Post-sync'. Renoir was given a mish mosh of a cast for his US debut, Walter Brennan, Eugene Palette, Dana Andrews, Ann Baxter, Ward Bond, Russell Simpson, John Carradine, not the kind of mix that works particularly well. Andrews sticks out like a sore thumb - he's a fine actor but he has 'urban' written all over him whereas most of the others can pass for rural. The plot is our old friend the innocent man framed for a murder he didn't commit just transplanted from the big city to the big - seven hundred miles - swamp. Interesting curio with Andrews rehearsing for the Ox-Bow Incident.

Went an' bought me this here DVD but 'taint as good as I hoped, ah reckon. Yep, might oughta got stuck for a wad o'money.To tell you the truth, I don't know what I was thinking but I thought that IMDb's (over)rating of this picture would foretell some lively entertainment. I don't know why I thought a movie about backwoods country folk would be either lively or entertaining and I should have gone with my first instinct. It had an impressive cast, a renown director and a screenplay by Dudley Nichols - what more could you ask for.Well, for one thing, a more compelling story. Apparently, not an awful lot happens in that neck of the woods. There was a fist fight, some arguing among the locals and a country dance. Oh, and John Carradine tried to hit on Walter Huston's wife. Most of the story is devoted to a character study between Dana Andrews, a passable actor, and Walter Brennan, a better one. Brennan is the nominal star of the picture as a fugitive from justice, but no one pursues him or even looks for him. But Huston, America's best film actor, is severely underutilized. To watch him was the main reason I bought the movie. It seems to have been filmed mostly on a soundstage with a couple of outdoor shots thrown in and has the feel of a filmed stageplay.Well, ya cain't win 'em all. And I ain't recommendin' this pitcher to ya ennaways because it ain't interestin'. And that's a natchrel fact.

If you want to enjoy "Swamp water" you'd better forget all you know about Renoir's previous movies of the thirties.If it were a minor director,it would not be a problem.But Renoir is probably the greatest French director of the era ,and the French might feel disappointed because this film is completely impersonal.That does not mean it's bad,by a long shot.The real star of the movie is this swamp water,these luxuriant landscapes which the cinematography in black and white perfectly captures.Dudley Nichols' screenplay is ,as always ,absorbing ,and even if some subplots are a bit far-fetched (Miss Hannah and Jesse" I'm only passing by" Wike)the story 's interest is sustained till the end.Walter Brennan is convincing as Keefer ,the outcast.His daughter (Ann Baxter)is also some kind of Cinderella of the community.As Ben (Dana Andrews) is himself an orphan ,it's only natural that they hook up together.It also makes sense that he teams up with Keefer who becomes like a father to him.It 's only after he is knocked about that Thursday (Walter Huston)shows a true foster parent."Swamp water" is actually the story of three human beings who used to live on the fringe of society and become at last part of it.

If one didn't know beforehand who directed this film (which proved to be Renoir's U.S. debut), he would be excused for thinking it was made by John Ford - given the presence of a good number of his stock company of actors (Walter Brennan, John Carradine, Ward Bond, Russell Simpson) and the music score utilizing themes from THE GRAPES OF WRATH (1940), which was also a 20th Century-Fox production! Still, Renoir's uniquely humanist outlook is unmistakable - which is only betrayed by the one-dimensional Tweedle-Dee/Tweedle-Dum pairing of Bond (here practically duplicating his villainous role in Ford's YOUNG MR. LINCOLN [1939]) and Guinn Williams.An altogether impressive production, with the overpowering atmosphere of the Okefenokee beautifully captured by Renoir and veteran cinematographer Peverell Marley (despite some obvious back-projection); the use of shadowy lighting is especially striking. Its concern with realism also extends to some rather physical violence for the time and a couple of unnerving scenes involving prowling alligators and snakes! Consequently, the film is vastly underrated in the director's canon (especially having now watched all his American features). While it may have served as a sort of dry run for Renoir's own THE SOUTHERNER (1945), the film also looks forward to INTRUDER IN THE DUST (1949) - which, similarly, dealt with a miscarriage of justice.With regards to casting, I don't agree with Leonard Maltin who felt that Walter Brennan's fugitive constituted "bizarre miscasting" (certainly no more than his uncharacteristic if brilliant turn as Old Man Clanton in Ford's MY DARLING CLEMENTINE [1946]): despite receiving top billing, he appears very little but his presence permeates the entire film. Walter Huston is never less than good in anything he does, but his gruff patriarch here isn't all that central to the plot; interestingly, the actor later appeared in a film by another expatriate French director - Rene' Clair's AND THEN THERE WERE NONE (1945). Conversely, Dana Andrews makes quite an impression as his rebellious but subsequently heroic young son - and this film must surely have put him on his way to becoming a veritable leading-man. The film also has Andrews forsaking egotistical village belle Virginia Gilmore for the raggedy but radiant Anne Baxter (whose real identity has been shielded from most of the community). To spite Andrews, the former takes up with another man: the actor's face was familiar to me but I couldn't quite place it, that is, until I saw his name during the end credits - it was none other than Matt Willis, who would go on to play Bela Lugosi's werewolf acolyte in THE RETURN OF THE VAMPIRE (1944)! Similarly, Huston's young bride (played by Mary Howard) is pursued by an atypically meek, almost pitiful Carradine - though it later transpires that he was involved in Brennan's framing! Surely one of the film's most endearing aspects is the unconditional love shown by both Andrews and Brennan to the former's wayward dog, hence the name of Trouble (which even occupies the film's very last shot via a well-deserved close-up!). As for the attractively-packaged DVD itself, the overall quality of the film's transfer was acceptable (though print damage was evident on occasion); I don't usually buy bare-bones discs, but the very reasonable price-tag and the fact that this rarely-screened film is as yet unavailable on R1 made the purchase virtually a no-brainer - and it has certainly made me game to pick up some more exclusive R2 stuff, above all the SE of Lewis Milestone's war drama THE PURPLE HEART (1944), also featuring Dana Andrews and a film I missed out on during my tenure in Hollywood...