Hurry Sundown
Hurry Sundown

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- 58/100 based on 1,338 votes

Following World War II, a northern cannery negotiates for the purchase of a large tract of uncultivated Georgia farmland. The major portion of the land 's owned by Julie Warren and has already been optioned by her unscrupulous, husband, Henry. Now the combine must also obtain 2 smaller plots; one owned by Henry's cousin Rad McDowell, the other by Reeve Scott, a young black man whose mother had been Julie's childhood nammy. But neither Rad nor Reeve's interested in selling, an... (Full plot summary below)

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Full Plot Details

Following World War II, a northern cannery negotiates for the purchase of a large tract of uncultivated Georgia farmland. The major portion of the land 's owned by Julie Warren and has already been optioned by her unscrupulous, husband, Henry. Now the combine must also obtain 2 smaller plots; one owned by Henry's cousin Rad McDowell, the other by Reeve Scott, a young black man whose mother had been Julie's childhood nammy. But neither Rad nor Reeve's interested in selling, and they form a partnership to improve their land.

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Movie Reviews

Variety - 5/10 by Variety StaffAn outstanding, tasteful but hard-hitting, and handsomely-produced film.
Chicago Reader - 3/10 by Jonathan RosenbaumThe last of Preminger's overblown adaptations of best-sellers, this may have a lot more juice than sustenance, but at least Preminger keeps the juices flowing.
The Spectator - 3/10 by Penelope HoustonWhat's tiring about the film is less these strangely old-fashioned lurches into melodrama (the date is supposed to be 1916: it hardly feels like it) than the self-importance of its attitudes.
User Review - 6/10 by Pamela DI pretty much agree with Jay Nixon about this sweaty sexual and racial drama but not the part about Doug Sirk being a more obvious choice for director: both Sirk and Preminger had auteurist champions (e.g. Andrew Sarris), and although it's true Sirk brought a touch of class to soap opera, this is not such a film. It is a fairly good portrait of sharecropper misery and landowner excess, including the then-controversial sequence in which Jane Fonda plays a sax organ from a position between Michael Caine's legs. (A few years earlier the same director shocked audiences with "The Moon is Blue" with its realistic depiction of an attempt to seduce a real live "virgin"!) I doubted anyone, certainly not Paramount, would transfers these Dixie doings to DVD, but Olive Films did so, politically incorrect dialogue intact. (Look, and listen, for the scene in which Burgess Meredith refers to a mature African-American as "an ugly, syphilitic old n----r woman." At the time the film was released civil rights were still very much on the minds of Americans, and this film might be seen as a companion piece to the much inferior "Mandingo," released about the same time. This one at least avoids stereotypical, cardboard characters, and John Phillip Law did his best acting here. (I was a fan.)
User Review - 6/10 by jay n"An explosive film. Its young stars are dynamite!" A ruthless up and coming Southerner (Michael Caine) is determined to buy up the tracts of land that border his land - one owned by his cousin, the other by a black man. Though the filmaker's intentions were good, the film was dismissed and lambasted by critics for being too simple and it's characters too full of racial stereotypes. It didn't help that it was released at the height of the civil rights movement. It is the 1st major motion picture with African American leading actors to be shot in the deep south, which lead to more controversy, including death threats. In addition to Caine, the cast includes Jane Fonda, Burgess Meredith, Faye Dunaway (in her film debut), George Kennedy, Robert Reed (Mr. Brady on Brady Bunch), and Jim Backus (Mr. Howell on Gilligan's Island). Footage from this film of a young Michael Caine was later used in the film Austin Powers in Goldmember (2002). Rose Scott: I was a white folks' nigger! You've got to fight! -------------------------------------------------------------------------------- Rose Scott: Sometin's ailin' you, Reeve. Reeve Scott: No, Mama. Rose Scott: Well, sometin's hasn't changed your mood since breakfast. Tell me. Reeve Scott: Mama, you better dan anyo' dat radar dey had out in de Souf Pacific. Rose Scott: I don' know nothin' 'bout radar, but I know when sometin's plaguin' ma chile. -------------------------------------------------------------------------------- [Rose is expecting Julie to pay her a visit] Rose Scott: Lor' Almighty, there she is! [A black friend enters with her grandfather] Reeve Scott: Shucks. An' we thought it was white folks! -------------------------------------------------------------------------------- [Rose and Julie converse while Julie's child rests in Rose's arms] Julie Ann Warren: Ah declare, Rose. Ah never saw him take to anyone like he does to you. Rose Scott: Chillun' know who loves 'em. Julie Ann Warren: Oh sometimes, Rose, Ah think you just about invented love. -------------------------------------------------------------------------------- [The bigoted Judge Purcell rebukes a white lawyer for his help to the black defendant] Judge Purcell: Don't you rattle your skeleton in my court! Your being here at all constitutes a treachery to the entire white community that's too colossal to be believed! -------------------------------------------------------------------------------- Julie Ann Warren: It wasn't until I was ten years old that I realized that "damn" and "Yankee" were two separate words!
User Review - 4/10 by Zack BAbsolutely terrible acting. I was so disappointed. Look at that talent! Michael Caine, Jane Fonda, Faye Dunaway, etc. It's ridiculous that this film should come off so dry, so lifeless when it deals with subject matter so emotionally chaotic and contentious. Beah Richards was the one actor in the film capable of being faithful to this subject matter. Her performance moved me and I was saddened when she left the film so early, because all quality went with her.
User Review - 4/10 by Brian KPreminger always seemed to attract heavyweight actors, even for lightweight films. This one devolves into a massive melodramatic masquerade in which the participants put on two things: a Southern accent and the audience.

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