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Made when Hollywood was largely committed to providing escapism for audiences gripped by the Great Depression, King Vidor's OUR DAILY BREAD (UA,1934) was a radical departure in its honest, down to earth depiction of America's dismal economic situation. Undaunted by the studios' rejection of his film, director Vidor mortgaged his home and borrowed money to get it made. This "never say die" determination behind its making only seems fitting for a film whose premise is about that very same spirit.
Written by Vidor, OUR DAILY BREAD tells the story of a dispossessed urban couple who decide to try their luck at farming by organizing a co-operative community of tradesmen, all committed to establishing a livelihood of self-sufficiency off the land. Karen Morley and Tom Keene give heartfelt performances in the lead roles, with apt support from John Qualen as a Swede - a character he specialized in, Barbara Pepper as a brassy blonde, and Addison Richards as an escaped con who makes a noble sacrifice to benefit the cause.
The film exhibits the general attitude of most Americans who felt betrayed by politicians and business magnates whom they viewed as being directly responsible for the economic crisis. It also delivers a message of hope that, with mutual effort and determination, any obstacle can be overcome. When viewed within the context of its times, OUR DAILY BREAD can be better appreciated as being instrumental in lifting the spirits of a generation fallen on hard times. Propaganda or not, they needed a film like this. The final sequence in which workers are digging an irrigation ditch and the water is unleashed, racing down toward a parched cornfield, is one of the most exhilarating cinematic moments of all time.
Because straightforward, socially conscious films were considered taboo by the major studios, Vidor had difficulty getting OUR DAILY BREAD released. Charlie Chaplin, a close friend of Vidor's and co-founder of United Artists, saw the film's merits and insisted that the studio release it. Even so, the opening date was delayed until after California's race for governor, since it was felt that the election may be swayed in favor of Democratic candidate Upton Sinclair, whose policies reflected the socialist leanings of Vidor's film.
Over the years, OUR DAILY BREAD has had lousy distribution with dupey prints flooding the public domain circuit. The last word in quality on this classic title is Image Entertainment's DVD which came out first in 1999, and was re-issued in 2005. The source used for the transfer was King Vidor's personal 35mm print. Produced by David Shepard, this edition is absolutely immaculate. I've only known OUR DAILY BREAD via washed out PBS-TV broadcasts and Alpha's no better DVD from '04. Upon viewing Image's copy, it's as if my eyes were fully opened and I could appreciate a film I've always loved even more. The audio likewise is crystal clear, with dialog registering at a comfortable level. Alfred Newman's stirring score, so helpful to the film's emotional impact, is served well by this restoration. Included is King Vidor's prologue in which the director relates what inspired him to make the film.
For extras there's six short, insightful Depression era documentaries - CALIFORNIA ELECTION NEWS #1 and #2 (1934), THE PLOW THAT BROKE THE PLAINS (1936), THE RIVER (1937), POWER AND THE LAND (1940) and THE NEW FRONTIER (1934).
A landmark of its kind, OUR DAILY BREAD seems to echo a re-newed relevance as we try to cope with the current economic slump. As a chronicle of an important period in American history, this film compilation is indispensible, and I give it my highest recommendation.
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Made when Hollywood was largely committed to providing escapism for audiences gripped by the Great Depression, King Vidor's OUR DAILY BREAD (UA,1934) was a radical departure in its honest, down to earth depiction of America's dismal economic situation. Undaunted by the studios' rejection of his film, director Vidor mortgaged his home and borrowed money to get it made. This "never say die" determination behind its making only seems fitting for a film whose premise is about that very same spirit.Written by Vidor, OUR DAILY BREAD tells the story of a dispossessed urban couple who decide to try their luck at farming by organizing a co-operative community of tradesmen, all committed to establishing a livelihood of self-sufficiency off the land. Karen Morley and Tom Keene give heartfelt performances in the lead roles, with apt support from John Qualen as a Swede - a character he specialized in, Barbara Pepper as a brassy blonde, and Addison Richards as an escaped con who makes a noble sacrifice to benefit the cause.The film exhibits the general attitude of most Americans who felt betrayed by politicians and business magnates whom they viewed as being directly responsible for the economic crisis. It also delivers a message of hope that, with mutual effort and determination, any obstacle can be overcome. When viewed within the context of its times, OUR DAILY BREAD can be better appreciated as being instrumental in lifting the spirits of a generation fallen on hard times. Propaganda or not, they needed a film like this. The final sequence in which workers are digging an irrigation ditch and the water is unleashed, racing down toward a parched cornfield, is one of the most exhilarating cinematic moments of all time.Because straightforward, socially conscious films were considered taboo by the major studios, Vidor had difficulty getting OUR DAILY BREAD released. Charlie Chaplin, a close friend of Vidor's and co-founder of United Artists, saw the film's merits and insisted that the studio release it. Even so, the opening date was delayed until after California's race for governor, since it was felt that the election may be swayed in favor of Democratic candidate Upton Sinclair, whose policies reflected the socialist leanings of Vidor's film.Over the years, OUR DAILY BREAD has had lousy distribution with dupey prints flooding the public domain circuit. The last word in quality on this classic title is Image Entertainment's DVD which came out first in 1999, and was re-issued in 2005. The source used for the transfer was King Vidor's personal 35mm print. Produced by David Shepard, this edition is absolutely immaculate. I've only known OUR DAILY BREAD via washed out PBS-TV broadcasts and Alpha's no better DVD from '04. Upon viewing Image's copy, it's as if my eyes were fully opened and I could appreciate a film I've always loved even more. The audio likewise is crystal clear, with dialog registering at a comfortable level. Alfred Newman's stirring score, so helpful to the film's emotional impact, is served well by this restoration. Included is King Vidor's prologue in which the director relates what inspired him to make the film.For extras there's six short, insightful Depression era documentaries - CALIFORNIA ELECTION NEWS #1 and #2 (1934), THE PLOW THAT BROKE THE PLAINS (1936), THE RIVER (1937), POWER AND THE LAND (1940) and THE NEW FRONTIER (1934).A landmark of its kind, OUR DAILY BREAD seems to echo a re-newed relevance as we try to cope with the current economic slump. As a chronicle of an important period in American history, this film compilation is indispensible, and I give it my highest recommendation.
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Reviewed in the United States 🇺🇸 on May 31, 2013
Written by Vidor, OUR DAILY BREAD tells the story of a dispossessed urban couple who decide to try their luck at farming by organizing a co-operative community of tradesmen, all committed to establishing a livelihood of self-sufficiency off the land. Karen Morley and Tom Keene give heartfelt performances in the lead roles, with apt support from John Qualen as a Swede - a character he specialized in, Barbara Pepper as a brassy blonde, and Addison Richards as an escaped con who makes a noble sacrifice to benefit the cause.
The film exhibits the general attitude of most Americans who felt betrayed by politicians and business magnates whom they viewed as being directly responsible for the economic crisis. It also delivers a message of hope that, with mutual effort and determination, any obstacle can be overcome. When viewed within the context of its times, OUR DAILY BREAD can be better appreciated as being instrumental in lifting the spirits of a generation fallen on hard times. Propaganda or not, they needed a film like this. The final sequence in which workers are digging an irrigation ditch and the water is unleashed, racing down toward a parched cornfield, is one of the most exhilarating cinematic moments of all time.
Because straightforward, socially conscious films were considered taboo by the major studios, Vidor had difficulty getting OUR DAILY BREAD released. Charlie Chaplin, a close friend of Vidor's and co-founder of United Artists, saw the film's merits and insisted that the studio release it. Even so, the opening date was delayed until after California's race for governor, since it was felt that the election may be swayed in favor of Democratic candidate Upton Sinclair, whose policies reflected the socialist leanings of Vidor's film.
Over the years, OUR DAILY BREAD has had lousy distribution with dupey prints flooding the public domain circuit. The last word in quality on this classic title is Image Entertainment's DVD which came out first in 1999, and was re-issued in 2005. The source used for the transfer was King Vidor's personal 35mm print. Produced by David Shepard, this edition is absolutely immaculate. I've only known OUR DAILY BREAD via washed out PBS-TV broadcasts and Alpha's no better DVD from '04. Upon viewing Image's copy, it's as if my eyes were fully opened and I could appreciate a film I've always loved even more. The audio likewise is crystal clear, with dialog registering at a comfortable level. Alfred Newman's stirring score, so helpful to the film's emotional impact, is served well by this restoration. Included is King Vidor's prologue in which the director relates what inspired him to make the film.
For extras there's six short, insightful Depression era documentaries - CALIFORNIA ELECTION NEWS #1 and #2 (1934), THE PLOW THAT BROKE THE PLAINS (1936), THE RIVER (1937), POWER AND THE LAND (1940) and THE NEW FRONTIER (1934).
A landmark of its kind, OUR DAILY BREAD seems to echo a re-newed relevance as we try to cope with the current economic slump. As a chronicle of an important period in American history, this film compilation is indispensible, and I give it my highest recommendation.
A FILM THAT SPEAKS FOR ITS TIME
By Anthony Crnkovich on May 31, 2013
Made when Hollywood was largely committed to providing escapism for audiences gripped by the Great Depression, King Vidor's OUR DAILY BREAD (UA,1934) was a radical departure in its honest, down to earth depiction of America's dismal economic situation. Undaunted by the studios' rejection of his film, director Vidor mortgaged his home and borrowed money to get it made. This "never say die" determination behind its making only seems fitting for a film whose premise is about that very same spirit.By Anthony Crnkovich on May 31, 2013
Written by Vidor, OUR DAILY BREAD tells the story of a dispossessed urban couple who decide to try their luck at farming by organizing a co-operative community of tradesmen, all committed to establishing a livelihood of self-sufficiency off the land. Karen Morley and Tom Keene give heartfelt performances in the lead roles, with apt support from John Qualen as a Swede - a character he specialized in, Barbara Pepper as a brassy blonde, and Addison Richards as an escaped con who makes a noble sacrifice to benefit the cause.
The film exhibits the general attitude of most Americans who felt betrayed by politicians and business magnates whom they viewed as being directly responsible for the economic crisis. It also delivers a message of hope that, with mutual effort and determination, any obstacle can be overcome. When viewed within the context of its times, OUR DAILY BREAD can be better appreciated as being instrumental in lifting the spirits of a generation fallen on hard times. Propaganda or not, they needed a film like this. The final sequence in which workers are digging an irrigation ditch and the water is unleashed, racing down toward a parched cornfield, is one of the most exhilarating cinematic moments of all time.
Because straightforward, socially conscious films were considered taboo by the major studios, Vidor had difficulty getting OUR DAILY BREAD released. Charlie Chaplin, a close friend of Vidor's and co-founder of United Artists, saw the film's merits and insisted that the studio release it. Even so, the opening date was delayed until after California's race for governor, since it was felt that the election may be swayed in favor of Democratic candidate Upton Sinclair, whose policies reflected the socialist leanings of Vidor's film.
Over the years, OUR DAILY BREAD has had lousy distribution with dupey prints flooding the public domain circuit. The last word in quality on this classic title is Image Entertainment's DVD which came out first in 1999, and was re-issued in 2005. The source used for the transfer was King Vidor's personal 35mm print. Produced by David Shepard, this edition is absolutely immaculate. I've only known OUR DAILY BREAD via washed out PBS-TV broadcasts and Alpha's no better DVD from '04. Upon viewing Image's copy, it's as if my eyes were fully opened and I could appreciate a film I've always loved even more. The audio likewise is crystal clear, with dialog registering at a comfortable level. Alfred Newman's stirring score, so helpful to the film's emotional impact, is served well by this restoration. Included is King Vidor's prologue in which the director relates what inspired him to make the film.
For extras there's six short, insightful Depression era documentaries - CALIFORNIA ELECTION NEWS #1 and #2 (1934), THE PLOW THAT BROKE THE PLAINS (1936), THE RIVER (1937), POWER AND THE LAND (1940) and THE NEW FRONTIER (1934).
A landmark of its kind, OUR DAILY BREAD seems to echo a re-newed relevance as we try to cope with the current economic slump. As a chronicle of an important period in American history, this film compilation is indispensible, and I give it my highest recommendation.
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Reviewed in the United States 🇺🇸 on January 13, 2011
Reviewed in the United States 🇺🇸 on January 9, 2013
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somewhere in England
Supplied on DVD-R, great classic
Reviewed in the United Kingdom 🇬🇧 on September 12, 2012
