That was an excellent one.

It's a movie as timely as it is provocative and amazingly, for much of its running time, it is weirdly funny.

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

This is a dark and sometimes deeply uncomfortable drama

. . . (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.

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 ****

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.

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.