Infierno verde

Burl Ives and his band of lowlife bird poachers are the equivalent of the "rednecks" in "Deliverance". Christopher Plummer on the other hand is their Audobon Society adversary, trying to protect the tropical birds and their valuable feathers. When the movie is in the Everglades, it moves along at a pretty good pace, while the Miami scenes feel padded. I'd imagine there has to be at least a bunch of fashionable ladies parading around in their feathered hats to make a point, but the scene on the beach and Gypsy Rose Lee's ladies of the evening are somewhat overplayed. The film is strongest when Ives and Plummer are on screen, almost everyone else is forgettable. I would rate this only slightly above average, but definitely watchable. - MERK

It's the turn of the century. Ornithologist Walt Murdock (Christopher Plummer) arrives in the Florida Everglades to photograph local birds and to enforce the newly declared bird/animal sanctuary. Walt finds himself confronted by a family of poachers led by Cottonmouth (Burl Ives) and the local trade in feather plumage.

This apparently had a troubled production. The swamp people has shades of Deliverance with shocks of bright colors. There are some great natural views but the production can get stuck in the mud. The ecological and native themes are a bit ahead of its time. On the other hand, the melodrama and old costumes feel old. Most of this is a bit of a mess until the last section. It's as if the film figured out that it has two great actors in the cast. It becomes a mano-a-mano film and it's so good. The first two thirds is an interesting fail but it becomes almost electric in the last act.

And so the environmentalist shall lie down with the swamp rat under the shelter of Protest. Such, at least, is my takeaway from the best scene in this flawed but interesting 1958 Nicholas Ray film where the Man From The Audubon Society and the King Of The Crackers are drunkenly united in their dislike of modern, urban civilization and, in so doing, anticipate the 1960s counter culture by at least eight years.

It's fashionable in film circles to disparage this Ray work and cast as the villain producer/writer Budd Schulberg who fired his Genius Director toward the end of shooting and took his place behind the camera. I somewhat subscribe to this view although with the fairly large caveat that The Genius was injesting heroin at the time, a rather significant detail the auteurists tend to omit. Whoever is to blame, there is no getting around the fact that large swaths of the film involving the early settlement of Miami and the love affair between Christopher Plummer and Chana Eden are as dull as a Marlins double header and that Burl Ives' performance is over the top pretty much throughout rather than in just certain parts of the film that Schulberg may have helmed. So let's give it a generous B minus for the Great Protest as well as other good red neck stuff like the elemental fight for sleeping quarters and the Everglades floozies who Ives so admires.

PS...I notice that Paul Sawtell and Bert Shefter, who did the music, did not get a credit. Anti Schulberg Protest?

PSS...An early Peter Falk performance does not make a strong impression. Gypsy Rose Lee, however, does, especially from the neck down.

For it's time, I considered it original, thought-provoking, and typical of Schulberg's quirky, off-beat style. I would rate "Wind Across the Everglades", as a movie ahead of it's time, given it's now much-debated theme. I still remember--after almost 40 years---Burl Ives speaking lines which included the phrase "A man's an eel", or did I hear it right? Finally, it was the first film in which I ever saw ChristopherPlummer. I would dearly love to see it again, but it's seldom on television, and in my home town of Sligo, in the Irish Republic, it is not available on video or DVD. Well,that's about wraps my comment. Goodbye, and thank you Paddy Coen.

I love this movie and the important message to brings!