Renoir didn't have final cut, nor did he film those silly last few minutes, but he is ALL over this thing. SWAMP WATER has more to say about American identity and myth than most any other film out there.
Elegantly shot but unfortunately simplistic in it’s telling of a tale. I was hoping the swamp itself might play more of a character and less of a setting for an unimpressive story. A few odd scenes felt thematically uneven and kept me frustrated with the film overall.
The Master didn't rip this story from the headlines, but he was allowed to put in some effort every now and again, to splash the frame with some mighty expressive light and cleverly navigate through a crowd that becomes despotic toward the end. And he's even allowed thrilleresque shenanigans! I think auteurists get carried away sometimes, as the small but enthusiastic reception of this surprises me.
Primeira produção hollywoodiana de Renoir, que sofreu nas mãos do todo poderoso da Fox David O. Selznick, responsável, com a cumplicidade do produtor Irving Pichel (diretor de ZAROFF – O CAÇADOR DE VIDAS), pelo final pra cima. Mas Renoir sucede em capturar com surpreendente realismo a vida caipira de uma comunidade à beira de um perigoso pântano na Georgia, onde se esconde um fugitivo da justiça.