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The Cabin In The Cotton (1932) Bette Davis, Richard Barthelmess

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Summaries
Sharecropper's son Marvin tries to help his community overcome poverty
and ignorance. While working in the general store he learns that the owner has been cheating his tenants. He is in love
with owner's daughter, Madge, but sides with the tenants in his threat to expose the planters and their
cheating.

—Ed Stephan
Marvin Blake wants to rise from the hard life of tenant cotton farmers with
education, but plantation owner Norwood resists the idea until his daughter Madge intercedes. Marvin gets his education
and becomes clerk in the company store, where he's caught in the middle of escalating owner-tenant disputes, and
between seductive Madge and sweet tenant girl Betty.

—Rod Crawford
A tenant farmer's son is
caught in the middle of owner-tenant disputes when he falls for the plantation owner's seductive daughter.

—Rod Crawford

A tenant farmer's son is caught in the middle of owner-tenant
disputes when he falls for the plantation owner's seductive daughter.
Director: Michael Curtiz
Writers:
Paul Green (screen play) (as Professor Paul Green), Harry Harrison Kroll (based on the novel by)
Stars: Richard
Barthelmess, Bette Davis, Dorothy Jordan | See full cast & crew »

 10/10
Brave
and original social issue picture.
David Atfield21 November 1999
The problems of Capital and Labor are well
explored in this tight little drama set amongst cotton tenant farmers and their landlords. Striking cinematography and
excellent direction, from Michael Curtiz, combine with a first-rate and intelligent screenplay to create a memorable
film. The two sides are well presented, both good and bad, and, although the solution for reconciliation is never really
explained, the result opens up areas for debate that are still relevant today.

The performances from everyone
are very fine - the supporting cast is an extraordinary group of unique faces and personalities. And then there is Bette
Davis, in one of her first roles, looking sensational (platinum blonde) and being very naughty - an implied nude
seduction is a highlight - as is that famous line. She eats poor Richard Barthelmess for breakfast, spits him out at
lunch, and devours his remains for dinner. Barthelmess' performance is wonderful - he was one of the best actors of
the silent era and here is strong in one of his rare talkies. He is so good that he almost makes you forget that he is
far too old for the idealistic boy straight out of school that he is supposed to be playing. Great film - see it.
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Musically Interesting
gcking24 November 2002
With all the emphasis on Bette Davis in this film, it is easy to overlook the musical
interest. I counted four different musical groups, each assigned to a different "class". There was the
marching band at the funeral (black used at a poor white event), the jug band (white, at the poor white party), the jazz
band (black, at the rich white party), and the blues singer. This is a surprisingly rich array of styles.

Interestingly, only the blues singer (Clarence Muse) is credited.
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 10/10

Bette Davis shines as a Southern Vamp
olet21 August
2001
For those who are looking for a thoughtful and socially relevant Hollywood film, Cabin In The Cotton is it.
The movie is rather quaint, even compared to other films of its time, but that's part of its charm.

The
subject matter is unusual, in that both the struggling sharecroppers, and the wealthy land owners are portrayed as
flawed individuals. Bette Davis performance as Madge gave her an early career opportunity to impress critics. Unlike her
future roles, though, it isn't large or challenging. There is enough there to allow her to be a vulnerable,spoiled,
and sexy minx. She also has eccentric dialogue and a glamorous wardrobe. Richard Barthelmess, in the lead role, as well
as the supporting players, give very authentic performances. The cinematography is striking,giving the film a realistic
rural atmosphere. A powerful and intelligent scene near the end reminds us that, in any profession, the necessary
relationship between labor and management will always be a difficult battle.
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 8/10

Bette Davis steals the show
drednm7 May 2006
Interesting film about the plight of planters vs. share croppers in 1930s South. Richard Barthelmess plays a share
cropper's son who is good at school and is sponsored by a planter (Berton Churchill). Although the boy becomes a
bookkeeper for him he 's caught between the two worlds and the two girls from each side of town: the planter's
daughter (Bette Davis) and a share cropper's neighbor (Dorothy Jordan).

As the war between the planters
and croppers increases, Barthelmess is caught in a moral dilemma. He knows the croppers are stealing cotton and he knows
they burned down the local mercantile (owned by the planter) because they think they've destroyed the the records.
But Barthelmess has an extra set.

The film is a little slow and maybe too old fashioned but the subject
matter is interesting and of course the film features Davis' famous line, "I'd like to kiss ya, but I
just washed my hair. Bye!" Aside from that the film offers Barthelmess in his last starring role and good
performances by Churchill and Henry B. Walthall as a crippled cropper.

Also co-stars David Landau, Virginia
Hammond, Russell Simpson, Tully Marshall, Dorothy Peterson, Hardie Albright, and Clarence Muse.

Worth a
look
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 7/10

Feudalism
in Thirties America
sunlily4 December 2005
Warning: Spoilers
As a social issue picture and an
early breakout effort of Bette Davis, this movie shines! Miss Davis devours every scene she's in with her typical
gusto! And it's her first performance as a Southern belle and contains the famous line, "Ah'd love
t'kiss you, but Ah jes washed mah hayuh." Richard Barthelmess plays Marvin Blake, a poor sharecropper's
son, to whom Bette's character Madge is drawn. The only problem is that Richard was thirteen years older than Bette
and too old to be playing this part and it shows. This is not helped by the fact that he spends a large part of the
picture overly made up. But he does a fine job and when he gets to play a wonderful scene at the end of the movie,
giving an eloquent speech on behalf of the poor tenant farmers from whom he came, he relishes the opportunity! The
tension of the movie is contained in Marvin's torn loyalties, the division of the haves and the have nots, and his
physical attraction to Madge.

My Mom, who watched this movie with me, commented that Bette was hyperactive,
which goes a long way to explain her constant motion! This is a movie that explores feudalism in Thirties America and is
a good commentary on injustice. The photography is lovely and it's directed by Michael Curtiz. (Casablanca) See it
if you get the chance and enjoy!
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 7/10

should be remembered for more than Bette Davis' famous line
kidboots30 October 2007
Warning: Spoilers
Can it really be Bette Davis - earlier the same year she was a very mousey, nothing
special "girl" in "Hell's House". Now blonded, sparkling and vivacious - Bette Davis has sex
appeal.

Even though it's main claim to fame is sultry Bette Davis and her "legendary" line
"I'd like to kiss ya but I just washed ma hair" - this film is much more.

It was one of Warner
Brother's "social" dramas, focusing on the clashes between the wealthy planters and the sharecroppers
(called peckerwoods). Richard Barthelmass plays Marvin Blake, a share cropper's son who aspires to higher things.
Dorothy Peterson plays his mother. When his father dies from over work, Norwood, the planter (Berton Churchill)
encourages Marvin to stay at school and later on gives him a job looking after the plantation accounts. The honesty and
purity of Marvin's personality keep him in limbo. He feels he doesn't belong to any group. He wants his people
to accept him but they are suspicious of his involvement with Norwood. Dorothy Jordan, a popular ingénue in the early
30s, plays Betty, the sharecropper girl who always believes in him. He, in turn, feels loyalty for Madge because he
thinks she loves him but he is just a plaything for her.

Although not as hard hitting as other Warner's
social dramas, it improved in the last half - with an impassioned speech by veteran silent actor Henry B. Walthall as an
old sharecropper trying to explain to Marvin what they are fighting for. In the court case at the end of the film Marvin
gives an emotional speech about the planters and share croppers working together. Clarence Muse makes a few notable
appearances as a blind singer.
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Caught in the crossfire
dbdumonteil14 February 2007
Warning: Spoilers
The lead (37 when
the movie was made) is obviously too old for the part.He is gauche,clumsy,nothing of a working class hero.He's
supposed to be clever and educated but we do not feel it.Fortunately the supporting cast is up to scratch ,with a superb
Bette Davis at her bitchiest.It's a wonder she can be seduced by such an oaf.

Marvin is a smart young
man who knows that the way to get out of poverty in the cotton fields is education.Note that his dad passes away as he
is reading an article in a newspaper which advocates the right of peoples to education ,be they rich or poor ..

During all the movie,Marvin will be caught in the crossfire: his boss,a land owner(Madge's (Davis) father),after
laughing when Marvin's father tells him his sonny wants to study quickly understands the whiz kid could be a
marvelous informer.When the young man becomes a gentleman ,the tenants feel they are betrayed by one of them..

Curtiz superbly places side by side the two worlds during Betty's and Madge's parties.Marvin is ill-at-ease
in both.In Betty's house ,he has become out of place in his Sunday's best.In Madge's desirable
mansion,during the ball with a jazz band (that costs a arm and a leg,as Marvin tells to his brothers in his final
speech), those vulgar popular dances are held up to ridicule by the wealthy man's daughter's guests.

The conclusion is the reconciliation between capital and labor (the cooperation) a la "Metropolis" where
Marvin is the arbitrator.

Curtiz never forgot to tell a story and this old film,despite the reservation
expressed about the male lead,can still grab today's audience.Anyway,the numerous Davis' fans would not like
to miss one of her early films.
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Good Despite a Few Issues
Michael_Elliott9 August 2012
The Cabin in the Cotton (1932) 

*** (out
of 4) 

Set in the South, this melodrama from Warner deals with the rich plant owners who continue to get
everything they want while the poor "tenants" continue to grow poorer and not being able to feed their
children. Marvin Blake (Richard Barthelmess) grew up as one of the poor kids but after getting an education thanks to
land owner Norwood (Berton Churchill) he's put in the middle of the two sides. THE CABIN IN THE COTTON isn't a
complete success but the cast is so good and the direction by Michael Curtiz is so on the mark that you can't help
but be entertained. The biggest thing going for the film are the performances with Barthelmess leading the way in his
part as the man caught in the middle. I thought the actor did a very good job at being torn by the two sides and you
really believe everything that his character is going through. Dorothy Jordan is good as the poor girl who loves him and
Bette Davis is grand as the Southern Belle who's also after him. Davis is incredibly beautiful here and she fits
the role perfectly and especially the now famous line dealing with her refusing to kiss because she's just washed
her hair. Churchill is also very effective in his role as is David Landau, Tully Marshall and Henry B. Walthall. The
biggest problem with the film is that it's quite predictable from start to finish. Also, there's a prologue
saying that the producers aren't taking sides in the matter and that they're presenting this film "as
is" it is in life. Well, I think having all the poor people being whites was a bit unfair and I do think this takes
away from the film. Still, fans of the stars will still want to check this out.
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 6/10

Social Significance With A Little Sex
bkoganbing8
June 2009
The workingman's studio, better known as Warner Brothers, did most of its social commentary films
with an urban setting. Which in itself makes The Cabin In The Cotton a very unique product to come out of this studio.
It's not a bad film, could have been better in delivering its message with a lighter hand. But what the Brothers
Warner did was go back on an old standby.

Watching The Cabin In The Cotton this morning put me in mind of a
much better film in which Preston Sturges satirized the making of films like these. If you remember in Sullivan's
Travels, director John L. Sullivan played by Joel McCrea wants to make films like these, the epic he wants to do is
entitled Oh Brother Where Art Thou. But in order to sell it he's advised to make sure it has 'a little
sex'.

Which brings me to why The Cabin In The Cotton is remembered today at all. It's because of
what Bette Davis brings to the film, a little sex. This film was a big milestone in her career as she plays the
hedonistic daughter of that old southern planter Berton Churchill who keeps his sharecroppers, black and white, in
virtual peonage.

The lead Richard Barthelmess plays a bright young sharecropper's son and Churchill
takes an interest in him, sending him to school to be educated because he has no son to help run the old plantation.
What he does have is one sexpot of a daughter to keep Barthelmess on the side of the rich and privileged instead of
finding true love with one of his own class in Dorothy Jordan.

Churchill has been systematically exploiting
the sharecroppers with high interest and cheating them on price. They in turn have been stealing cotton and selling bits
of it on the black market. Henry B. Walthall and Russell Simpson have been leading the quiet peasant's revolt which
threatens to get open and nasty. I'd have to say that the ending of the film has a forced and obvious conclusion
both romantically and socially, but you'll have to see it for yourselves to find out.

The Cabin In The
Cotton is a dated, but historically valid film about conditions in the old Confederacy before the New Deal. But the sex
that Bette Davis brings to her role is timeless.
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 10/10

wov!
Karl Ericsson17 January 2006
Warning: Spoilers
This film
was probably made possible through FDR:s "New Deal". It does proclaim a middle road between vulgar capitalism
and vulgar communism and so does not take a totally firm side against the owners but it still beats anything made today
and what is Reilly a beauty is how well the ideas put forth blend in with the story, which is a sure sign for any
masterpiece, which this certainly is. You have to go to Germany and "Kuhle Wampe" to find something similar
but that is more like a loosely constructed road-movie compared with this. Truly astonishing stuff. As for Bette Davies
and her antics - those are completely secondary and were probably only put there to work as a smokescreen for the
producers. Should be shown in every school.
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this
 7/10

Tale of two stars traveling in opposite directions
calvinnme12 November 2009
This
film is probably most important because it showcases two stars - Bette Davis and Richard Barthelmess - whose careers are
traveling in opposite directions. Barthelmess actually headlines here, but he is a silent star whose career is on the
decline, and he has a hard time getting parts after 1934. Bette Davis is a star on the rise, in only her first year of
her contract with Warner Bros. where she will become a major star.

Unlike many silent era stars,
Barthelmess' problem was not his voice but his acting style. He was just a little too wooden to turn in a truly
dynamic performance, and this film is no exception. The story is pretty interesting - Barthelmess plays Marvin Blake, a
sharecropper's son who is educated by the plantation landowner and ends up keeping his books. His loyalty is torn
between the planter who is sponsoring him, and whose daughter attracts him, and the sharecropper families with whom he
grew up. The planter owns everything and is always charging high fees and interest via the company store and thus
cheating the sharecroppers out of what they need. The sharecroppers have cooked up a plan to short the planter some of
their cotton and sell it themselves and reap the rewards.

It's really hard to take sides in this film
because everyone seems so unsympathetic - both sides are stealing from the other without any remorse or much redeeming
value for that matter. It is worth a look if you can find it, although it is not yet on DVD.
4 out of 6 found this
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 5/10

Bette on the Rise
nycritic3 May
2006
Warning: Spoilers
Slim Summerville? I'd say nay... watch Bette Davis' performance as the
daughter of a plantation owner as she tries to seduce Richard Barthelmess on three occasions and you will see the
makings of an actress with preternatural control of her own self and body language. Going against the code that a woman
should be submissive and demure, she utters her immortal line "Ah'd like to kiss ya, but Ah'd jes washed
my hair. Good bye!" with a conscious wink in her eye, as if she knew what her effect was on Barthelmess. Later, she
does a slow strip-tease mainly off-screen, fully aware of her effect and willing to carry it out, and later still she
sits and lazily eats dinner with Richard Barthelmess, her eyes a little sleepy and parted lips suggesting so much. I
can't see what could have prompted Davis to believe herself unworthy of Hollywood. An early performance with hints
of what she'd do in later films playing women in control, teamed with Barthelmess who was on the way out and with
this movie had his last major starring role, and a movie that while at the time might have hit audiences with its social
commentary, now seems ancient and distant.
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this
 5/10

Drawling Davis steals the show...
moonspinner5516 October 2007
It's the
Planters vs. the Tenants (but the producers object to taking sides!). Hilariously hoary drama from First National
Pictures involves a studious young man, son of Southern cotton-pickers, who graduates from school and takes a job as
bookkeeper to a surly land-owner who wants to know who's been stealing his cotton. The boss's firebrand
daughter is played by a very young, very blond Bette Davis, easily slipping into Southern Belle mode while pulling some
real zingers out of the musty script ("I'd love to kiss ya, but I just washed mah
hair...'bye!"). The leading role is played by former silent-screen star Richard Barthelmess, who hasn't
adjusted his acting techniques to this improved movie-medium and looks woefully stiff (with a pasty, silent-era make-up
job). Dorothy Jordan is the poor girl he loves--she's pretty lively, but this is really Davis' show. ** from
****
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 7/10
a little campy
but a really good film nevertheless
MartinHafer21 January 2006

Warning: Spoilers
This was
not a "big" movie from Warner Brothers, but a relatively inexpensive film starring its lesser actors. It just
so happens that one of these "lesser" actors turned out to be a very young and vivacious Bette Davis. Sure,
her accent is a bit broad, but she does a lovely job playing the happy-go-lucky daughter of a rich Southern land owner.
Richard Barthlemess plays a poor but decent guy caught between loyalties to the land owner and the sharecroppers he
knows and loves. Perhaps the biggest down-side to this film is Barthelmess--his character often seems very weak and
wussy--though he does a great job in the end standing up to both sides. On the plus side, the dialog and direction is
generally very good, and like most Warner films it's great entertainment tied to an interesting social message. Not
the best film by any means, but well-made and worth seeing.
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 5/10

Bette Davis Takes Charge
wes-connors29 June 2009
Cotton-picking farm boy Richard Barthelmess (as Marvin Blake) is saddened by the sudden death of his father, who was
conflicted by young Barthelmess' growing fondness for higher education. In order to support his poor family,
Barthelmess goes to work for the sharecroppers' miserly plantation owner, Berton Churchill (as Lane Norwood), who
also pays for his schooling. Alas, an educated Barthelmess causes political trouble for his fatherly employer.

Barthelmess is really too old to be playing a school-age kid. The costume, lighting, and make-up do not hide the
strain. Fortunately, Barthelmess, a fine actor, would follow this with some more suitable roles, like "Heroes for
Sale" (1933). "The Cabin in the Cotton" has good direction (by Michael Curtiz), an interesting story, and
a finely-wizened supporting cast. Barthelmess' leading ladies are sweet Dorothy Jordan (as Betty Wright) and sassy
Bette Davis (as Madge Norwood). Ms. Davis, who delivers the memorable line, "I'd like to kiss ya, but I just
washed my hair," is outstanding.

***** The Cabin in the Cotton (10/15/32) Michael Curtiz ~ Richard
Barthelmess, Bette Davis, Dorothy Jordan, Berton Churchill
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 6/10
Sharecroppers, planters, and a very young Bette Davis
blanche-226 June 2009
"Cabin in the Cotton," made in 1932, is famous for a blond, 23-year-old Bette Davis saying, "Ah'd
love to kiss ya, but ah just washed mah hairah," a completely meaningless line that she made fun of in the
'70s when she was touring with John Springer.

She's very pretty here, and plays the haughty
daughter of a planter who's after Richard Barthelmess.

The film is a serious one, made during the
depression, about the plight of sharecroppers who are exploited by planters. It's actually a compelling story.
Unfortunately, I have never been a fan of Richard Barthelmess in sound films, so there for me, it falls short.

Worth seeing, and if you're a Davis fan, don't miss this.
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 5/10

There's something rotten near the Cabin in the
Cotton.....
mark.waltz1 August 2012
Warning: Spoilers
In the case of every situation having three
sides, only the truth is right here. The "Peckerwoods" (cotton field workers) and "Planters"
(basicaly the man who gets the money...) all have pros and cons for each of their concerns in this depression era issue
picture that showed slavery wasn't really dead. It just had a different name.

Berton Churchill owns a
large plot of land which he rents out to the "Peckerwoods" to tend. What they raise, they sell back to him.
One of those "PW's" is David Landau who has worked for Churchill his whole life and ends up dying having
barely hit middle age. He has raised an intelligent son (Richard Barthelmess) who wants to go to school, and Churchill
notices potential in him, so he hires him. Already in love with poor, sweet Dorothy Jordan, Barthelmess must decide
between her and Churchill's equally beautiful daughter Bette Davis, a flirt who has eyes on Barthelmess herself.
Then, learning that some of the other PW's are stealing the cotton rather than selling it back to Churchill,
Barthelmess is put in the position of betraying his own people.

There is no real side to take. Both Churchill
and the PW's are guilty of various crimes, Churchill for cheating his tenants and the PW's for theft and
vandalism. This all sets up for a good plot, but unfortunately, due to some embarrassingly poor acting by Barthelmess,
this ranks among Warner's weaker "poor man fighting rich man" dramas. This will always be known for a
famous line uttered by Bette Davis (which was admittedly her favorite), and she really is the best thing about this
movie. Her smile is radiant; Like that quote from "The Women", "She's got those eyes that run up and
down a man like a searchlight." Churchill, too, is excellent; He instills his character with likability even though
he's not totally honest. His character reminded me of Donald Crisp in "The Valley of Decision", a
basically very good man with power trying to do the best he can, but sometimes abusing it a little. But Barthelmess was
perhaps Warner Brothers' weakest leading men, genuinely boring. Something tells me he was better in silent movies.
Davis had more "heat" from George Arliss. Someone like George Brent or Paul Muni would have had more presence,
particularly in the final court room scene. The ending wraps everything up too neatly, something I fear would never have
happened in the south in real life.
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"Come up to my room for a minute. I want to talk to ya about sumthin'."
utgard144 November 2015
Corny Pre-Coder about a peckerwood (Richard Barthelmess) on a Southern plantation who is torn between the poor cotton
pickers and the greedy plantation owner, all while falling for the owner's seductive daughter (Bette Davis). Davis
is the whole show here, giving a fun performance that borders on camp. Even her straight lines seem humorous thanks to
her risible Southern accent. The movie's most memorable scene is when Bette drawls "I'd like to kiss you
but I just washed my hair" and runs away while a sexually frustrated Richard Barthelmess stares after her.
Barthelmess is just short of terrible in this, doing all of his acting in close-ups of his constipated face. Berton
Churchill, Erville Alderson, and Russell Simpson are all good in supporting roles.

It's a film
that's hard to take seriously at times but, if you stick with it, there is a decent 'message movie' here,
the kind Warner Bros. excelled at in the 1930s. The interesting thing about the movie's pro-labor rights message is
that, while the plantation owner is a villain, so are the poor workers. They include a slimeball who forces
Barthelmess' widowed mother into marrying him in an unsettling scene. Their leader's another piece of work,
gleefully planning to blackmail Barthelmess into helping them. So no "white hats and black hats" here; just
different shades of despicable. But it's not a movie you watch for the story as much as for the performance of a
young and attractive Bette Davis. She's really a treat to watch. My favorite scene is when Bette invites
Barthelmess up to her room to seduce him. It's both sexy and unintentionally funny. Which pretty much sums up Bette
Davis in this movie and why you just have to see it for her.
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 7/10

A very fine film...other than the terrible acting of the Richard
Barthelmess
vincentlynch-moonoi22 January 2015
Warning: Spoilers
The first issue I have with this
film is Richard Barthelmess. Now I don't usually pay much attention to age in movies, but this was a little
ridiculous. Barthelmess' character is just going' ta schule for larnin' ritmetic. Barthelmess was 37 when
he made the film. Guess he musta bin a leetel slow.

Beyond that, Barthelmess was considered a good actor???
Really? Here he is wooden, has an almost constant odd stare that actually made me feel uncomfortable. If I were to give
an award for the Worst Actor, he'd certainly be a nominee.

Aside from the Barthelmess problem, this was
quite an ambitious film in 1932, and I would imagine not very popular down South! The screenplay was written by a
Pulitzer Prize winning playwright. The film shows the evil on both sides in the rural South -- the poor sharecroppers,
often cotton pickers, some of whom steal with abandon; and the wealthy plantation owners who are ruthless in keeping the
poor "in their place". While the film says it doesn't take sides, it clearly does. Chasing one of the
thieves through the swamp with dogs, and the resulting lynching, is quite powerful. And the climactic scene in a
community meeting is done quite well. It's a good script, too bad the main actor was
of questionable talent.

Dorothy Jordan (who?) gets second billing here, and does fine as the poor love
interest, but Bette Davis -- the rich love interest -- with third billing is more central to the plot and more
interesting to watch. This was Davis' eleventh film...all done in just 2 years! She was learning fast! In the
supporting cast, Berton Churchill is quite good as the main plantation owner. You'll notice a number of other
familiar faces in the supporting cast. But I was particularly pleased to see a wonderful character actor named Henry B.
Walthall, as one of the sharecroppers. Every time I run across him in an old film I am impressed with his talent.

The ending of the film -- so optimistic -- seems a bit unrealistic considering the tenor of emotions in the
town, but the screenwriter did set up the things that would need to happen to make such as ending feasible.

If it weren't for Barthelmess' acting, I'd be tempted to give this film an "8", so we'll
have to settle for a "7". It's an ambitious and serious film, and they did well...especially for 1932. It
won't end up on my DVD shelf, but I'll watch it again sometime when it is on TCM again.
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 2/10

Cabin in the Cotton; or How Two Wrongs
Still Make A Wrong
Andy (film-critic)3 March 2010
Described as a political film, coupled with love, betrayal,
and valor "The Cabin in the Cotton" successfully touches on everything that it promises. There is no denying
that fact. Bette Davis plays the sultry love interest. Richard Barthelmess plays the hokey, dumbfounded man caught in
the middle. The stage is set, angry plantation owners, angry growers, but (Â…and here comes the first analogyÂ…)
it feels as if "The Cabin in the Cotton" is a house, and while our players and writer may be doing the best
they can, the foundation of it all was rushed, crafted by items found at a refuse lot, not new material. This film
represents the idea of quantity over quality. Warner, head of the studio at the time, knew that he could use these raw
goods and create a political mafioso about the current American economic standard. The problem, which became apparent 15
minutes into the film, is that this film has no direction. The cloud of romance is in one corner, the air of politics is
in another, and then we have this deep lacking history of the south that seems to loom all around like a fog - yet none
blend together. None built together a strong enough foundation, or subsequent walls, to make "The Cabin in the
Cotton" anything more than just an opportunity to see Bette Davis use good lines.

Watched within a
group, this reviewer was the only one to question the "Cabin in the Cotton" point. What was the focus of this
film? When did poor construction pass for great film-making? From the opening definition of the obscure family to the
over-hyped courtroom scene in which the point that two wrongs obviously make a right – nothing is defined or
developed. But, let's begin at the start. Our actors. Bette Davis, playing a New York Southerner was worth the
78-minutes alone. She was handed some of the greatest lines, some of the sauciest scenes, and completely went
perpendicular to her co-star, Barthelmess, who – honestly, didn't feel comfortable going from silent to
sound. He was a classic example of a star that may have been big during the silent era, but couldn't translate well
beyond that. As he lurched around everything in this film, he successfully was able to demonstrate that no chemistry was
needed to act with Bette Davis. Then, with no emotion for nearly ¾ of the film, he is asked to inspire at the end. He
is asked to raise his voice, demonstrate his chops, and ultimately fail miserably. If we couldn't believe that he
could "woo" Bette Davis, why would I believe that he could inspire a group of angry men? I couldn't. The
remaining actors fell into two categories; either angry or angrier. There was little sympathy coming from anyone, much
less our main actors. Again, I ask, why would I then feel emotion for this film? 

With our actors causing
problems over problems (the excuse, "It was made in 1932" doesn't cut it), you are left with the story.
Does "Cabin in the Cotton" work with just the story, as our characters (again, outside of Bette Davis)
flounder throughout – does this political film work? To me, it did not. The lacking construction of developing
the poor characters makes this film fail, on every level. Director Michael Curtiz, obviously working for the Hollywood
factory, didn't even bother finishing scenes. He provided us with Point-A (the boy), Point B (the crime), Point C
(the courtroom) and nothing else. There was a random lynching which was used to heighten an already depressed emotion,
but it failed. When our only reaction between Barthelmess and his crew was anger, why would he be upset by a lynching?
The consistency just wasn't there. Rumor had it that Mr. Norwood provided an education for Barthelmess'
character – but again, my argument, there wasn't any connection between anyone. No connection between
Barthelmess and his ladies, none between Barthelmess and the cotton pickers, none between him and the plantation owners
– nothing. The glue to the film isn't even strong enough to keep our central guys together, why would it
care about the background? Questions plague this review, but they plagued me while watching this film. I understood the
political nature of the film, I loved Bette Davis' line, but everything else was atrocious. There was no redeeming
value to this film, perhaps political, perhaps love story – who knows!?

As this review wraps, I
continue to think perhaps I have misjudged what this film represents. Maybe it was only supposed to be a political film,
an allegory to the truth of what conditions were like in the south, or in the USA, but then I think about other films,
like "My Man Godfrey" made four years later – and how well developed that film was. Why couldn't
"Cabin in the Cotton" be more like that? Why did our lead actor have to be so horrid at his job? Questions
that will remain unanswered through the cinematic time vault. For anyone new to "Cabin in the Cotton" beware,
it is worthy of only seeing a young Bette Davis Â… nothing else.

Overall, in case it wasn't obvious,
"Cabin in the Cotton" was a failure. Davis, and her lines, allow for one star, but that is it. Nothing worked,
from the acting to the direction to the construction of the film, it just didn't work from one scene to the next.
The value of this film was missing. What was this film? Political. Love story. Random family? Nothing made sense, and
while I will remain in the minority, I ask you to revisit this film and see what makes it spark. In the end it was a
wasted 78 minutes.

Grade: * out of *****
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 8/10

About half of the Holy Gospels is redacted . . .
Edgar Allan Pooh5 July 2017
Warning: Spoilers
. . . (that is, censored, cut out, and excised) from the not-so-Good Books on the
shelves of U.S. President Putin's For-Profit Charter Brainwashing Shacks, overseen by his Secretary of
Miseducation, Pyramid-Scheming Billionairess Betsy "Amway Calling" DeVos. WHICH half, you might wonder?
It's all those verses where Jesus says that Chris Christie could pass through the Eye of a Needle easier than a
Rich Fat Cat One Per Center Putin Oligarchical Traitor getting through the Pearly Gates, as well as the Parables about
Good Mexicans tending to newly-impoverished American 99 Per Centers while Putin's Puppet Rump, Paul Ryan, and Mitch
McConnell cross to the other side of the road. With THE CABIN IN THE COTTON, Warner Bros. warns the U.S. South of a Day
when their Castrated Version of the Bible and their multi-generational plot to stunt most of their population through
deficient nutrition, exercise, and schooling will result in Backwards Masses capable of Rigging Sacred Elections in
favor of self-confessed Red Commie KGB-backed Serial Finger Rapist Game Show Hosts. Warner Bros. gave the Confederate
Fat Cat Traitors a Choice: Pay Reparations NOW (1932), or face Repercussions LATER (2017). According to the Book of
Revelations, it won't be long Today until the Red State Boulevards run shoulder-deep with Oligarchical Arterial
Spray. Warner tried to warn of this with its CABIN IN THE COTTON, but this message fell upon cob-webbed wallets.
0
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