Bright Leaf (1950)

Very very predictable, including the post credit scene !!!

the audience applauded

Just so...so bad

A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.

Producer: Henry Blanke. Copyright 16 June 1950 by Warner Brothers Pictures, Inc. New York opening at the Strand: 16 June 1950. U.S. release: 1 July 1950. U.K. release: 2 July 1951. Australian release: 20 September 1951. SYNOPSIS: In a Southern state in the late nineteenth century, the possession of a cigarette manufacturing machine brings a tenant farmer's son into control of a tobacco empire.COMMENT: Here's another film that doesn't deserve its poor reputation. The reason for this downgrading is of course that Hollywood was producing so many fine films in this period, the level of craftsmanship in a less-than-outstanding offering tended to be overlooked. Mind you, Bright Leaf has all the makings of "grade A" romance: best-selling novel, period setting, sweeping backgrounds, self-willed characters, illicit romance. The difficulty is that despite some persuasive (Cooper, Bacall, Carson, Crisp) and indeed fiery (Patricia Neal) acting, the people in this saga remain stubbornly one-dimensional. This fault is compounded by the tact that their particular traits are almost all unlikable. Royle's is a morose, vengeful figure at the center of an unlovely group of robber barons, con artists and connivers. Even Lauren Bacall's sweet eagerness is flawed by her profession and her hopeless love is so obviously foredoomed, it robs the script of a fair degree of romantic suspense. Crisp has a meaty part for once - and he makes the most of it - even though his character too is patently a mere pawn in the author's telegraphed chess game. It is Patricia Neal who excels, bringing such fire and vengeful malice to her role as to divert our attention momentarily from the mere mechanics of the plot.Whatever the shallowness of the script, it has been most appealingly dressed up in full regalia. The Warner Brothers have outfitted it in their finest production values: Karl Freund's crisply grey-toned deep-focus photography, Victor Young's atmospheric score, Stanley Fleischer's enormously vistaed sets. Director Michael Curtiz is in his element with such big-budget props. The action and crowd scenes are handled with his usual power. If the more intimate episodes lack the same conviction, it is not for want of dramatic skill, simply the fact that the script is often so stubbornly synthetic.Some of the support players are afforded excellent opportunities: Elizabeth Patterson is nicely cast as an independent-minded aunt, Jeff Corey is rightly long-suffering as a put-upon Yankee, Chick Chandler makes an amazingly sing-song auctioneer, while James Griffith limns an obsequious clerk to perfection. If the entertainment of the whole falls somewhat short of the sum of the parts, Bright Leaf is still one of the classier, flying high films of the year. Who can resist Cooper's Brant Royle, a truly tragic figure played with such assurance and conviction? (In many ways it's a typical role - well within the actor's range - but nowadays it has the fresh appeal of unfamiliarity.)

In 1894, Brant Royle (Gary Cooper) shocks the aristocratic tobacco growers of Kingsmont by planning to mass-produce cigarettes.I found the comments from the old woman that "everybody's doing it" and that smoking is "very fashionable" rather humorous. I feel that in 1950, this sort of sentiment could be taken seriously rather than as the anti-smoking rhetoric it became later.Overall, the film did not hold my interest. This was more my fault than the fault of the film, because there is nothing bad about Michael Curtiz's directing or Gary Cooper's acting. Perhaps someday I shall give it another try. I was hoping to see some ground-breaking cinematography from Karl Freund, but that simply did not happen.

Yes, this movie has some good actors and one of the best directors ever. However it still doesn't work for me. It drags (no cigarette pun intended) on and on. Finally I was left with the feeling I had just wasted a good hour and a half. Lauren Bacall is beautiful as always but seems out of place here. And it's hard to believe any sane man would shun her for Neal. Coop at 49 is way to old to be playing the young maverick he is supposed to be. Patricia Neal is young and wide eyed but not nearly as attractive as Bacall whom we are expected to believe is second best. The other actors are also good, but sadly they don't have much to work with. This film is predictable from the start. The ending is telegraphed well in advance and contains no surprises. It's one of those films where nobody gets the girl or the guy.I find it hard to believe it's been rated here as highly as it is. If you love Coop or any of the other fine actors in this there are countless better films to see them in.

This 1950 film starred Gary Cooper, Lauren Bacall and Patricia Neal in the leading roles and brought drama within the tobacco industry, although in the 50s it was okay to smoke. Doubt this film could make it this day and age.Interesting to see real-life lovers Cooper and Neal tear up the scenery with their love scenes. Cooper seemed a bit on the reserved side even though he was out for revenge. But, that's Coop. He's a master of do nothing on the screen and manages to hold his own. Spencer Tracy is another one of those dynamic actors. Here he plots to take over the tobacco industry from a man (splendidly played by that veteran character actor of distinction, Donald Crisp) who in the past had run him out of town for kissing his daughter (yes, just kissing) played by the lovely Patricia Neal.In the meantime Coop courts long time girl friend, Lauren Bacall, somewhat miscast in this, for money to start up a cigarette making factory invented by Jeff Corey, another great actor. Lauren doesn't look her best in this. How can we forget all those marvelous Bogart/Bacall films with her slinky hair and sultry body. In this her hair is up and curled and her gowns of the period don't look good on her. Bring Baby back. She doesn't have the chemistry with Cooper as she did with Bogart. And obviously the chemistry was flying with Neal and Cooper instead.Also in the cast are Jack Carson, in a small and not so well written role that wasted this fine actor. Gladys George (remember her in MADAME X) was also wasted in a thankless role.However, it's fine drama of the time and good to see the stars playing out their roles.I prefer to remember Coop in such films as SERGEANT YORK, FOR WHOM THE BELL TOLLS, SARATOGA TRUNK, FOUNTAINHEAD, HIGH NOON and ALONG CAME JONES.