The Vintage (1957)

91-92 mins | Drama | 19 April 1957

Director:

Jeffrey Hayden

Producer:

Edwin H. Knopf

Cinematographer:

Joseph Ruttenberg

Editor:

Ben Lewis

Production Designer:

Jean Douarinou

Production Company:

Metro-Goldwyn-Mayer Corp.
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HISTORY

Although at the onset of production the film was titled The Vintage, two weeks into production the title changed to Harvest Thunder and continued to be titled as such until the end of production. Another working title for the film was The Purple Harvest. The opening onscreen credits read: “Photographed in the vineyards of Southern France.” According to the 9 May 1957 NYT review, the film was television director Jeffrey Hayden’s first assignment as a motion picture director. The HR production charts for the film credit Daniel Cathcart as the art director; however, only Jean Douarinou is credited onscreen. A 5 Jul 1956 HR news item notes that Don Dubbins was cast in the film; however, his appearance in the final film has not been confirmed. Several reviews lauded the film for the beautiful photography of the French countryside, while criticizing the implausible characterization of American actors John Kerr and Mel Ferrer as Italian migrant workers, who both spoke American-accented English. ...

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Although at the onset of production the film was titled The Vintage, two weeks into production the title changed to Harvest Thunder and continued to be titled as such until the end of production. Another working title for the film was The Purple Harvest. The opening onscreen credits read: “Photographed in the vineyards of Southern France.” According to the 9 May 1957 NYT review, the film was television director Jeffrey Hayden’s first assignment as a motion picture director. The HR production charts for the film credit Daniel Cathcart as the art director; however, only Jean Douarinou is credited onscreen. A 5 Jul 1956 HR news item notes that Don Dubbins was cast in the film; however, his appearance in the final film has not been confirmed. Several reviews lauded the film for the beautiful photography of the French countryside, while criticizing the implausible characterization of American actors John Kerr and Mel Ferrer as Italian migrant workers, who both spoke American-accented English.

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GEOGRAPHIC LOCATIONS
LOCATION
SOURCE CITATIONS
SOURCE
DATE
PAGE
American Cinematographer
1 Nov 1956
p. 650
Box Office
23 Mar 1957
---
Daily Variety
18 Mar 1957
p. 3
Film Daily
22 Mar 1957
p. 6
Hollywood Reporter
29 Jun 1956
p. 15
Hollywood Reporter
5 Jul 1956
p. 4
Hollywood Reporter
24 Aug 1956
p. 11
Hollywood Reporter
31 Aug 1956
p. 3
Hollywood Reporter
13 Sep 1956
p. 8
Hollywood Reporter
12 Oct 1956
p. 17
Hollywood Reporter
13 Dec 1956
---
Hollywood Reporter
18 Mar 1957
p. 3
Los Angeles Times
17 May 1957
---
Motion Picture Daily
19 Mar 1957
---
Motion Picture Herald Product Digest
23 Mar 1957
p. 313
New York Herald Tribune
9 May 1957
---
New York Times
9 May 1957
p. 36
Showmen's Trade Reviews
23 Mar 1957
---
Variety
20 Mar 1957
p. 6
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
PRODUCERS
Assoc prod
WRITER
PHOTOGRAPHY
Dir of photog
ART DIRECTOR
Art dir
FILM EDITOR
Film ed
COSTUMES
Gladys De Segonzac
Ward des
MUSIC
SOUND
MAKEUP
Makeup
PRODUCTION MISC
Unit mgr
Asst cast dir
Local unit mgr
SOURCES
LITERARY
Based on the novel The Vintage by Ursula Keir (London, 1953).
LITERARY SOURCE AUTHOR
DETAILS
Alternate Titles:
Harvest Thunder
The Purple Harvest
Release Date:
19 April 1957
Production Date:
late Aug--mid Oct 1956
Copyright Info
Claimant
Date
Copyright Number
Loew's Inc.
19 February 1957
LP7702
Physical Properties:
Sound
Perspecta Sound; Westrex Recording System
Color
Metrocolor
Widescreen/ratio
CinemaScope
Duration(in mins):
91-92
Length(in feet):
8,270
Length(in reels):
12
Country:
United States
Language:
English
PCA No:
18419
SYNOPSIS

Fleeing a murder charge, Italians Ernesto Barandero and his brother Giancarlo cross the French border in search of work harvesting grapes during the “vintage” season. While they wait at a pastoral vineyard farmhouse for the owner, Louis Morel, to return, his wife Leonne and her sister Lucienne befriend the men. Hearing explosions nearby, Lucienne, an effusive teenager, explains that farmers are setting off explosives that stir the air to prevent hailstorms. Soon after, Louis, frustrated by the precarious weather and his inability to decide when to harvest, orders the brothers off his land, but elderly Uncle Ton Ton quietly suggests that they wait in a nearby shack. Once inside the house, Louis rants about the needy workers, prompting Leonne to wistfully recall when her now heartless and preoccupied husband was more generous with the pickers and kinder to her. Softened by Leonne, Louis decides to harvest the next morning and allows Lucienne to take food to the brothers. Later at the shack, Lucienne notes that the brothers’ calluses are not that of pickers and offers to teach the inexperienced workers how to harvest if they are hired. As Lucienne returns to the house, her would-be fiancé, Etienne Morel, jealous of her time alone with the men, urgently suggests they marry after the harvest, but Lucienne refuses him. A rainstorm develops that evening, causing Louis to become drunk and deliriously pray to God to save his crops. When Giancarlo and Ernesto find Louis passed out in the vineyard and bring him home later that night, Ernesto’s brooding eyes intrigue a grateful Leonne. The next morning a brief scuffle between the newly arrived Spanish pickers and the brothers ensues. Jovial Spanish ...

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Fleeing a murder charge, Italians Ernesto Barandero and his brother Giancarlo cross the French border in search of work harvesting grapes during the “vintage” season. While they wait at a pastoral vineyard farmhouse for the owner, Louis Morel, to return, his wife Leonne and her sister Lucienne befriend the men. Hearing explosions nearby, Lucienne, an effusive teenager, explains that farmers are setting off explosives that stir the air to prevent hailstorms. Soon after, Louis, frustrated by the precarious weather and his inability to decide when to harvest, orders the brothers off his land, but elderly Uncle Ton Ton quietly suggests that they wait in a nearby shack. Once inside the house, Louis rants about the needy workers, prompting Leonne to wistfully recall when her now heartless and preoccupied husband was more generous with the pickers and kinder to her. Softened by Leonne, Louis decides to harvest the next morning and allows Lucienne to take food to the brothers. Later at the shack, Lucienne notes that the brothers’ calluses are not that of pickers and offers to teach the inexperienced workers how to harvest if they are hired. As Lucienne returns to the house, her would-be fiancé, Etienne Morel, jealous of her time alone with the men, urgently suggests they marry after the harvest, but Lucienne refuses him. A rainstorm develops that evening, causing Louis to become drunk and deliriously pray to God to save his crops. When Giancarlo and Ernesto find Louis passed out in the vineyard and bring him home later that night, Ernesto’s brooding eyes intrigue a grateful Leonne. The next morning a brief scuffle between the newly arrived Spanish pickers and the brothers ensues. Jovial Spanish leader Eduardo Uriburri diffuses the tension by offering his hand in friendship and agreeing to share the shack with the brothers. Despite Etienne’s protests that the brothers do not have work cards, Louis hires Ernesto and Giancarlo that day and orders everyone to work. At lunchtime, Leonne’s young daughter Yolande spies Ernesto carving a portrait of her mother in a small block of wood. Ernesto befriends the girl and asks her to keep his work a secret. That afternoon policeman Berger, prompted by a report from Etienne, asks Louis to fire the brothers, but after the entire crew threatens to strike if the brothers are fired, Louis is forced to keep Ernesto and Giancarlo in order to save his crop. The next day, when Leonne questions Ernesto about his sullen behavior, he reveals that he and Giancarlo lost their parents and their home during the war and were forced to fend for themselves in a violent environment. When Ernesto returns to the shack, Giancarlo warns him that any further contact with Leonne will cause problems and takes the sculpture from Ernesto, who then challenges him to a fight. While Giancarlo calms his frantic brother down, he unknowingly drops the sculpture. That night Giancarlo discovers the sculpture is missing and retraces his steps, but dogs, set out to catch a chicken thief, attack him before he can find it. Assuming Giancarlo is the thief, Louis locks him up and promises to call the police in the morning. That night when Lucienne secretly visits Giancarlo to reveal her affection for him, he tries to explain to the teenager that her longing will pass. As Lucienne persists in hugging him, Giancarlo cannot resist kissing the girl. The next morning, after Yolande hands the sculpture to her mother explaining that Ernesto made it, Leonne realizes that Giancarlo could not use the sculpture to clear himself of the crime for fear of inciting Louis’ jealousy. When Ernesto comes to the house to beg Leonne for help, he admits that he killed a man to protect an innocent victim and insists Leonne keep the figure. Ernesto is forced to suddenly hide when Louis enters the house and, catching sight of the sculpture, accuses his wife of infidelity. Leonne slaps her husband and defends herself stating that although there were no indiscretions between her and Ernesto, she has no regret that the young man made her feel desired. Shocked by his wife’s honesty, Louis leaves the house and releases Giancarlo, who tells Lucienne to forget their amorous embrace the previous evening. Meanwhile, Uncle Ton Ton is caught stealing chickens and explains that, having once been the family patriarch, he is too embarrassed by his diminished family role to ask for anything as trivial as chocolate, so he has been trading chocolate for chickens with Eduardo. Moved, Louis offers to give Uncle Ton Ton chickens of his own. Meanwhile, Eduardo offers to take the brothers to Spain with the crew the next day and advises them to avoid the harvest celebration that evening. Later, Lucienne leaves the party to offer herself and her dowry, a nearby vineyard, to Giancarlo. Meanwhile at the house, Ernesto, guilt-ridden by the burden his brother assumed by fleeing with him, tells Leonne that he is leaving without Giancarlo, to free his brother. Within moments, the police arrive and inform Louis that Ernesto is wanted for murder. When Louis finds the fugitive with his wife, Leonne defends the young man as Louis loads his gun. She insists that it is Louis’ jealousy, not Ernesto’s crime, that is driving her husband to kill. Louis, defeated, unloads his gun and leaves the house. Ernesto professes his love to Leonne, but she does not encourage him because of her marriage commitment. Seeing that the police are out of sight, Leonne ushers Ernesto out the door. Yolande, recognizing Ernesto, calls him by name, alerting the police, who shoot and kill him. The next day, a grief-stricken Giancarlo refuses Eduardo’s offer to continue to Spain working as a picker. As Leonne and Louis look on, Giancarlo takes the path leading from the house, where Lucienne rushes to his side and offers to show him “their” vineyard. Giancarlo embraces the young woman and lets her lead the way.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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