Movies about common people fighting oppressors, nature, and poverty are as endearing in recent times as in 1940. “The Grapes of Wrath,” John Ford’s 1940 drama about the Dust Bowl, is considered one of the greatest of American films. “The River,” Mark Rydell’s 1984 drama that marked Mel Gibson’s American debut, strongly resembles it. Although released 44 years apart, these movies are remarkably similar.
“The Grapes of Wrath” follows the Joads, Oklahoma sharecroppers who lose their land after drought ruins their crops. Tom Joad (Henry Fonda) gets out of jail on parole and finds his family packing for California. He and his parents, grandparents, siblings, brother-in-law, uncle, and former minister Jim Casy (John Carradine) head west in a ramshackle jalopy, hoping for nonexistent jobs. The family must fight to survive and stay together.
Different Settings, Similar Stories
Both these films depict whole communities of farmers plagued by economic hardships and natural disasters, though they focus on individual families with leading men named Tom. The Oklahoma farmers in “The Grapes of Wrath” face drought and dusty winds, while the Tennessee farmers in “The River” endure torrential rains and flooding. In both films, some lose farms that their families have owned for years, so they must pack single vehicles to leave the land where they have lived their whole lives. The Joads lose their farm, and although the Garveys keep their land, the Gaumers, who are the Garveys’ neighbors, leave their repossessed farm to find work elsewhere.Both films contain strikes. In “The Grapes of Wrath,” the Joads’ first California job is picking peaches, locked in gated grounds. When Tom Joad investigates at night, he learns that they were hired as strikebreakers after previous workers wanted increased salaries. In “The River,” Tom Garvey earns extra money at a steel mill. When the workers see disgruntled strikers outside, they realize they are “scabs,” locked in for protection. In both films, the strikebreakers are mistreated when the strike ends, in the first film by lower wages and in the second by abrupt dismissals.
PG-13 Versus PCA-Approved
When “The River” was released in 1984, the Classification and Rating Administration (CARA) rated it PG-13. When “The Grapes of Wrath” was released in 1940, it was not rated, since the CARA was not created until 1968. Its predecessor was the Production Code Administration (PCA), which guided films throughout production to ensure their compliance with the Motion Picture Production Code, Hollywood’s content guidelines 1934–1968. A PCA Seal of Approval, which was necessary for American distribution, signified acceptability for everyone.According to an email response from Tom Zigo of the Motion Picture Association, “'The River’ was rated ‘R’… on September 25, 1984. CARA’s Appeals Board upheld the ‘R’ rating on October 3, 1984. The film had been edited, and the edited version also was rated ‘R.’ CARA’s Appeals Board overturned the ‘R’ rating on October 12, 1984, and the film was rated ‘PG-13.’” It doubtless received its initial rating for frequent profanity. In addition, there is graphic blood in a steel mill fight and when Mae is injured. Also, Tom and Mae have a suggestive bedroom scene.
Temporary Victory Versus Inspiring Hopefulness
“The Grapes of Wrath” ends with an ideal, not a single victory. Jobs couldn’t truly solve the problems of the Joads or the millions they represented. Since it was impossible to happily, realistically conclude the story, Ma (Jane Darwell) summarized their future thus to Pa (Russell Simpson): “Rich fellas come up, and they die, and their kids ain’t no good, and they die out. But we keep a‘comin’. We’re the people that live. They can’t wipe us out; they can’t lick us. We‘ll go on forever, Pa, ’cause we’re the people.” Such determination can inspire everyone.“The River” had great potential but remained obscure. I think its biggest shortcoming is its ending, which feels incomplete. Seeing he has been licked by the farmers’ camaraderie, Joe Wade plugs the last, single leak with a sandbag as a sign of truce, but his defeat is temporary. He then predicts, “Sooner or later you’re going to have too much rain, or too much drought, or too much corn. I can wait.” Although the film ends with the Garveys happily together, we fear they soon will lose their land.
These films have similar plots and comparable scenarios, yet one is considered a masterpiece while the other received negative reviews and lost money. “The Grapes of Wrath” cast a rising young star, and “The River” cast a charismatic up-and-comer, so both had great potential.
“The River” captured realism through blood, vulgarity, and foul language, precluding families from seeing it. “The Grapes of Wrath” avoided inappropriate and offensive content, yet its stark realism remains gripping. When filmmakers cannot vivify their movies with swearing, violence, and risqué situations, they must deepen their stories and characters. If “The River” had been a Code film, perhaps it would have had depth, completion, and hope like “The Grapes of Wrath.”