Places in the Heart (1984)

Absolutely the worst movie.

Not sure how, but this is easily one of the best movies all summer. Multiple levels of funny, never takes itself seriously, super colorful, and creative.

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

A clunky actioner with a handful of cool moments.

Monster storms, the scourge of the KKK, infidelity, tragic death, and redemption. Who isn't frightened of monster storms? Who doesn't feel rage at the injustice of blind hatred in the form of the KKK? Who fails to feel for a wife whose husband has cheated on her? Or a wife whose husband has died tragically young? And who, seeing all this, isn't uplifted by the redemption of the transgressors (except the Klansmen, I suppose) and the almost literal resurrection of the dead? Or the cleansing of sin through love and forgiveness(faith)? Who would not weep? Unfortunately I was too aware of the easy manipulations taking place on the screen to be really moved, feeling the author's heavy and not so subtle hand at work, grabbing at my emotional heartstrings. Maybe I'm being too cynical, but that's how I experienced it. I could hear the scriptwriter, (Benton) saying, "Okay, NOW, we're gonna get you with a big storm -- look! How scary!" "Oh, and now, the Klan makes and appearance, and you will foam with rage!" Ah, no. Too transparent. Yes, Mrs. Spaulding overcame an inordinate number of obstacles to show the world that the human spirit is indomitable. Yeah. Don't care. The acting was good.

There's a super sweetness to "Places in the Heart," but it wears it well. The characters all have little failings, but nothing that can't be quickly overcome in the space of a tender, touching moment. Though many scenes walk right up to the line, they stop short of turning that well-earned tenderness into cloying sentimentality.The young, cherub-cheeked widow played by Sally Field is can-do-ism personified, and is perhaps more racially tolerant than the norm for 1930s Texas, especially considering that her husband has just been killed by a drunk, black youth. But the movie sells us on the idea that she has bigger problems to worry about than racial politics or even personal loss. The Depression is palpable throughout the movie, and it reshapes her life almost overnight. A neighbor is living in a car, paint on a nearby abandoned house says "Gone to California," and now, with the death of the family breadwinner, Field's character also appears to be headed for bust. Worse, she may lose custody of her two children. With no time to mourn, she has to take in a surly boarder (John Malkovich, thoroughly believable as the blind WWI veteran) and hire a black man who previously stole from her (Danny Glover) in a desperate attempt to stay afloat. If it seems all too predictable that her headstrong determination and positive spirit will prevail, that her worldly-wise black field hand will prove his worth, and that the bottled-up boarder will grudgingly reveal his sensitive side, well... it wears it well. Perhaps these characters should be thought of in the way that many of us like to think of our grandparents and great-grandparents: a little idealized in our minds, perhaps, but people who we believe were fundamentally good and who lived through difficult and transformative years in our history as soldiers, laborers, school children, and housewives. The final scene in the movie is a creative tracking shot that emphasizes the oneness of this diverse, often fragmented and antagonistic, yet familiar community that we have come to know. It is not just a Texas community, but an American one.It is hard to say what a slow-boiling side plot about marital infidelity, featuring a young and inscrutable Ed Harris, adds to the movie. There may be some thematic connection to a frightening sequence of a literally home-wrecking tornado. Or maybe it is a way to provide additional color by making the supporting characters flawed and allowing the main ones to remain only nominally imperfect. In any case, this B-plot is not very creatively rendered, and it takes time away from the Malkovich and Glover characters whose private lives would surely be far more interesting but are too seldom seen. This shortcoming, though, does not prevent the main plot from being as affirming and moving as it strives to be.

I was sad to find I didn't love this as much as I had remembered from its release nearly 30 years ago. The acting is terrific, and the film looks great. But the main plot has elements of familiar melodramatic clichés that bugged me more now in a way they didn't in 1984. The race to save the farm, and the 'we'll do it despite the odds!' dialogue felt a little too Hollywood this time around, as did the 'perfect' gallery of downtrodden, oppressed outsiders (the single mother, the African-American, the blind man). At the same time, the subplot of the romantic triangle between Ed Harris, Lindsay Crouse and Amy Madigan, while wonderfully acted, really seemed to have very little at all to do with the rest of the film. That said, all the acting (Sally Field, Danny Glover, John Malcovich) is terrific, and the details of time and place are rich and vivid is slightly (intentionally) softened by the haze of the passing years (Benton grew up in the town where the story takes place). And that wonderful long last shot, which gives the whole film a larger context, is still a powerful and brave way to end a story.

A wonderfully simple film, lovingly detailed art direction and costume design. The cinematography is excellent. The performances from everyone are notable. Sally Field gives a very convincing and heartfelt performance. The supporting cast is exemplary. Ed Harris, who is memorable in just about every film he is in, Lindsay Crouse, Amy Madigan, John Malkovich, and in particular Danny Glover. Impressive production throughout. There are a couple of scenes that are a little overdone, the tornado and the endless cotton picking scene, but overall the film comes together very well and it always held my interest throughout. Sally Field won an Oscar for her fine performance.