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28th Apr, 2007

Henry Fonda’s Farewell in The Grapes of Wrath

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Saturday night is old movie night at our place and posting Chaplin’s Great Dictator speech, I decided to follow that with Henry Fonda’s farewell to his mother in John Ford’s The Grapes of Wrath, one of the great moments in American film. This quote at one point was going to be on the title page of the book The Strange Death of Liberal America, but a very precise work limit forced me to eliminate it, so now it becomes part of the blog.

To set the scene: it is late at night after a dance has been held at the humane camp presided over by a man who resembles Franklin Roosevelt. Tom Joad (Fonda) and his mother stand in the moonlight on the edge of the wooden dance floor. In the background Ford has an accordion playing his favorite tune “Red River Valley,” a song that in Ford movies is associated with the fragility of community. Joad has been identified as the man who killed a police-led vigilante squad that comes to assassinate his friend the Preacher Casey, who has been organizing farm workers. Now he must leave his family and take up Casey’s mission.
Fonda speaks:

Maybe it�s like Casey says. A fella ain�t got a soul of his own, but only a piece of a big soul, the one big soul out there that belongs to everybody. And then it don�t matter. Then I�ll be all around in the dark. I�ll be everywhere…Wherever there�s a fight so hungry people can eat, I�ll be there. Wherever there�s a cop beating up a guy, I�ll be there. I�ll be in the way guys yell when they�re mad�and I�ll be in the way kids laugh when they�re hungry and they know supper�s ready…And when our people eat the stuff they raise, and the houses they build, I�ll be there too.

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Responses

Henry Fonda nailed that one…beauty.

What nails it is the absolutely stunning camera work by Gregg Toland (who made Orson Welles a star with is work in Citizen Kane). If you get a chance to watch this scene again note what he does with the lighting. It is an absolutely amazing performance that no one has matched since. There are so other brilliant Toland moments with Muley in the abandoned house, the murder of Preacher Casey.

People who just think John Ford made John Wayne westerns needs to see this one. I would go so far as to rank as one of the top ten films ever made by an American team–and better than Kane. Welle’s over-the-top acting cannot compare with Henry Fonda’s performance in the is film where he always seems like a sparking fuse ready to go off. Remember the line when he gets in the truck at the beginning, “What you do?” “Homicide.” Then he volunteers the details, “Took a shovel and split a man’s head clear to squash.” Then throughout the film there is Ma’s insistent question, “Did they hurt you? Did they make you mean?” All this comes together in that scene.

BTW Fonda would not have pulled that off without Jane Darwell to play off. She is probably the most under-rated player in this film. The range of emotions she needs to summon is as wide as any actress has ever had to play.

IN terms of politics this fil ought to be required viewing in every school and by every Republican Congressman who thinks top-down economics is the way to prosperity.

BTW2: The benevolent camp ground owner was purposely outfitted to look like FDR.

I have always loved this speech. He was perfect.

You might know it but the camera work that really makes that scene–note the brilliant use of lighting and camera angles–was done by the same cinematographer who did Citizen Kane–Gregg Toland. Ford knew what he was doing and what he wanted. Since much of the film is shot at night he needed someone who knew how to push the envelope. As pure cinema this movie has never received the attention it is due. I think in many ways it is better than Kane–better plot, better acting, better camera work. It just doesn’t have Rosebud.

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