Alas, this uninspired, perfunctory literary bio isn't saved by its handsome visuals.
Cross Creek (1983)
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Reviews Counted: 10
Fresh: 6
Rotten:4
Average Rating: 5.5/10
Runtime: 2 hrs
Genre: Dramas
Synopsis: Mary Steenburgen (MELVIN AND HOWARD) stars in this adaptation of Marjorie Kinnan Rawlings's classic novel about her experiences living in rural Florida during the 1920s and 1930s. Mixing together elements of both CROSS CREEK and THE... Mary Steenburgen (MELVIN AND HOWARD) stars in this adaptation of Marjorie Kinnan Rawlings's classic novel about her experiences living in rural Florida during the 1920s and 1930s. Mixing together elements of both CROSS CREEK and THE YEARLING, director Martin Ritt creates a glowing period piece that finds the essence of both books. In the film, Mrs. Rawlings (Steenburgen), a New Yorker, buys an orange grove in the Florida swamps for the purpose of going there to write the gothic romance she can't seem to finish in the city. As soon as she arrives, Mrs. Rawlings becomes immersed in the colorful backwoods community that surrounds her grove, and acquires a young cook named Geechee (Woodard) as well as farm hands to work the groves. Enchanted by life in Cross Creek, Mrs. Rawlings finds herself writing not gothic romances, but tales of small town life in rural Florida. Next thing she knows, her stories catch the attention of a major publisher. A lyrical meditation on both rural life and the nature of creativity, Martin Ritt's film is filled with lush imagery and standout performances. In particular, Rip Torn's performance as Marsh Turner, a drunken but loving father, is outstanding, and it rightfully won him an Oscar for Best Supporting Actor. [More]
Starring: Mary Steenburgen, Rip Torn, Dana Hill, Peter Coyote
Starring: Mary Steenburgen, Rip Torn, Dana Hill, Peter Coyote
Director: Martin Ritt
Director: Martin Ritt
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Reviews for Cross Creek
It's an uncompelling, yet warm, tale which lightly skips over the woman's travails by illustrating a series of vignettes of rural humanity.
Never one to stint himself when it comes to romantic overkill, Ritt piles on the slush with even more gusto than usual.
The script may take some liberties with the facts, but when the resulting movie is this likeable you soon cease to care.
Somehow, Mr. Ritt manages to use this very artificiality in the service of an optimism that is very much his own.
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