Otto Preminger’s drama was the first of a trio of heavyweight films in 1967 – the others being In the Heat of the Night and Guess Who’s Coming to Dinner – that took African-American issues seriously. In post-war Georgia land-grabbing by ambitious Michael Caine pits him against World War Two vet John Philip Law and African-American farmer Robert Hooks who team up. Throw in a sextet of feisty women – Jane Fonda (Caine’s wife), Faye Dunaway (Law’s wife), schoolteacher Diahann Carroll (Hooks’ love interest), Donnie Banton (Caine’s lover), Beah Richards (Hooks’ mother) and Madeleine Sherwood (Burgess Meredith’s wife) – and you are set for a series of emotional confrontations.
Preminger had spent most of the decade making films about big subjects – Exodus (1960), the politics behind the formation of Israel, Advise and Consent (1962), just politics, and The Cardinal (1964), politics within the Roman Catholic Church
Preminger is both economic and elegant. From opening dialogue to climactic court scene, the picture races along, and continuous use of tracking shots ensures the movie never gets bogged down. While there is no lynching, racist abuse, whether direct or indirect (through patronizing attitude) is never far from the surface. Corrupt judge Burgess Meredith is by far the most vicious, his unrestrained language making you wince. But even those with more measured approaches have to play the game, Law gives a lift to Hooks but has to let him off before they reach town in case anyone spots this, Hooks forbidden, for example, to buy dynamite.
But the racists do not get it all their own way. Jane Fonda, Caine’s wife, stands up to Meredith and her standing in the community is so strong that others boycott Meredith’s daughter’s wedding leading to the judge receiving a tongue-lashing from his wife. Weak sheriff George Kennedy coming to arrest Hooks is bamboozled by his female relatives while Diahann Carroll charms her way past the judge.
The women are uniformly strong. Fonda goes from seductive wife to distraught mother, but in between capable of defrauding Hooks’ mother, her childhood nanny, out of her inheritance. Her usual shrill delivery is tempered somewhat by the deeper emotions she is forced to bear. Hooks’ wife Dunaway resents his return after in his absence taking on a full-time job while running the farm and now resisting the idea of selling up to Caine. Hooks’ mother, beholden to white men all her life, now turns against them. Donnie Banton (Burgess’s daughter) makes no bones about the fact that she is marrying her “dull” fiancé for his money. This is no spoiler because you will have guessed some similar outcome but at the end it is Carroll who takes the initiative in her relationship with Hooks and marches into his house with her baggage, declaring she has come to stay.
And although the ruthless Caine is the bad guy, he, too, is afforded insight, soothing himself by playing a musical instrument, a man with talent who had “distracted” himself by pursuit of money. And there is another touching moment when he takes in a runaway child. Acting-wise, Caine is a revelation. Gone is the trademark drawl and the laid- back physical characteristics. Here he talks snappily – and no quibbles with his Southern accent either – and strides quickly. That we can believe he is brutal, gentle, remorseful and ruthless is testament to his performance.
Similarly, this is a massive step forward in Jane Fonda’s career, away from the limp Hollywood comedies and sexed-up French dramas, and her internal conflict springs from being forced to choose between husband and son, between her innate sexiness that oozes out in every intimate scene and maternal longing to comfort her disturbed child. While her attempt to defraud Hooks’ mother comes from a desire to keep her husband, her eyes tell you she knows that is no excuse.
What’s perhaps most surprising of all is the tenderness. There are wonderful, gentle love scenes between Caine and Fonda and Law and Dunaway.
Children, too, also unusually, play a central role. Caine’s callousness is no better demonstrated than in his earlier treatment of his son. Law’s eldest son also resents his father’s return and, viewing Caine as a more suitable adult, betrays his father. Burgess Meredith is obliged to drop one of the worst aspects of his racism in order to appease his daughter.
The acting throughout is uniformly good. Dunaway’s debut won her a six-picture contract with Preminger which she quickly wriggled out of. Singer Diahann Carroll’s role as a confident young woman led to a television series. Robert Hooks would also enjoy small-screen fame. The surprisingly effective John Philip Law would partner Fonda in sci-fi Barbarella (1968) and link up with Preminger again in the ill-fated Skidoo (1969).
Unfairly overlooked by Oscar votes, who preferred the other Poitier films, Hurry Sundown, despite the rawness of the language and the innate brutality meted out to African-Americans, has been vastly under-rated. It is worth another look because at its core is not just racism but big business which scarcely cares about the color of those it exploits. It is as much about the power shift in relationships and ambition.
The DVD below plays in all regions and without subtitles.
2 thoughts on “Hurry Sundown (1967) *****”
Remember this from the 50 Worst Movies of All Time book, or maybe it was Golden Turkey. Was disappointed when it finally turned up on C4 that it wasn’t quite the fiasco I’d expected…
Was hard to get critics to take films about the Deep South seriously and of course by this point the Andrew Sarris cult was at his height and everyone was gunning for Otto Preminger.