Elia Kazan (1909–2003)

It is a shame this film fell into obscurity over the years. Though overshadowed by Elia Kazan’s more heralded and flashier efforts, I have always found “A Tree Grows in Brooklyn” and “Wild River” to be his best. Thanks to a scarred Montgomery Clift and a young and earthy Lee Remick, “Wild River” has a feeling of quiet reality.

Monty’s genius was to be so much the person he was portraying that he seemed to disappear on-screen. Clift’s sensitive performance here, coming after show more the accident which altered his appearance, is one of his best. It is matched by a young and incredibly lovely Lee Remick.

Clift works for the TVA (Tennessee Valley Authority) and has come to Jo Van Fleet’s rural home to move her off her land so room can be made for a dam. Clift is not uncaring, and his sympathy for the older woman is complicated even further by his attraction to her young granddaughter, Lee Remick.

He is also unpopular because of his fair treatment of blacks whom he is employing to help build the dam. But the violence simmering just beneath the surface here is less on his mind than Remick. He cannot have her because of what he is forced to do. Yet it is torture for him.

Clift’s sensitivity and Remick’s heart, torn between what she knows he has to do and what she feels within for him creates a frustration for the would-be couple the viewer can really feel. One scene in particular, as Remick paces back and forth in front of a sitting Clift, reveals the ache in Clift which finally blows.

Beautiful location filming by Kazan adds a further sense of reality to this quiet yet moving film. This was one of Clift’s best post-accident performances. This quiet film needs to become recognized for the masterpiece that it is. show less

Great memoir that pulls no punches on himself, his friends, his enemies, or anyone in the film and theater realm, while at the same time giving due respect and admiration for the same people. Goes into great detail about how the HUAC impacted his life from the early 50's to time of writing the book, as well as the atmosphere of the Communist party in the US in the 30's and 40's. He doesn't shy away from mentioning his many infidelities and his complicated relationships with his wives and show more other women. His writing style is friendly and conversational. My only complaint is his tendency to repeat himself, which should have been fixed by his editor. show less

Great memoir that pulls no punches on himself, his friends, his enemies, or anyone in the film and theater realm, while at the same time giving due respect and admiration for the same people. Goes into great detail about how the HUAC impacted his life from the early 50's to time of writing the book, as well as the atmosphere of the Communist party in the US in the 30's and 40's. He doesn't shy away from mentioning his many infidelities and his complicated relationships with his wives and show more other women. His writing style is friendly and conversational. My only complaint is his tendency to repeat himself, which should have been fixed by his editor. show less

Great cast and exciting finale raise this film to its 4-star rating. Widmark, as a Public Health Officer (in a silly uniform) trying to stop the plague from spreading through New Orleans, talks way too loud most of the time, and Douglas isn't especially effective as his reluctant police detective partner. On the other hand, Barbara Bel Geddes is memorable in a somewhat thankless role as Widmark's long-suffering wife (because he can't see what any of us can see immediately--she's fabulous!) show more The best performance is given by Jack Palance, billed here early in his career as "Walter Jack Palance"--he's not only a fearsome physical presence, towering over his minions, but he delivers his lines perfectly, seeming so reasonable in tone while we (and the other characters) know what his true nature is. As one of his minions, Zero Mostel is great, and Tommy Cook is superb as the unwitting man most responsible for spreading the plague. The New Orleans scenes are great, and the finale in a coffee warehouse and along the waterfront is excellent. This is hardly a noir classic, but it looks great, and it's well worth your time. show less