Apr 08 2010
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Every so often, an actor plays a role that fits like their hold skin, a perfect match between character and performer. George C. Scott as Patton. Judy Garland as Dorothy Gale. Bela Lugosi as Dracula. Clark Gable as Rhett Butler. Humphrey Bogart as Sam Spade. Madonna as Evita. Charles Laughton as Captain Bligh. Gloria Swanson as Norma Desmond, honest to name a few.
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To that list, I add Elvis Presley as Toby Kwimper.
Yes, I know; as an actor Elvis was graceful great a capable singer and an okay dancer. Most of his movie performances are ho-hum, looking abet on them decades later. However, in the case of Follow That Dream the persona of Toby Kwimper, a young man of whom one of the other characters observes, “His heart is pure and his head is empty and you can’t beat that combination,” is brilliantly portrayed by Elvis, one of the few genuinely good-hearted actors ever to hit Hollywood.
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Toby Kwimper, an innocent from the swamplands of Recent Jersey’s Pine Barrens, has to deal with all kinds of dangers of original life that would cause a less optimistic and lucky hero to quail. The dwelling is fairly simple.
On a breeze to Florida to visit relatives, Toby, his Pop (ably played by Arthur O’Connell), his twin kid brothers Teddy and Eddy, his baby sister Ariadne and Holly (Anne Helm), a babysitter who is no kin to him, hurry out of gas on a plot highway not yet originate to traffic that Pop had driven down. Stranded on a soar road, the family group improvises, adapts and overcomes to place up camp with no genuine equipment by the road on dredge spoil conventional to possess in the land so the road could be made. The ‘pioneers’ are truly on virgin land; it didn’t exist a couple of months before and the Plot did not bother to title it.
After a few days of roughing it, feeding themselves and quite well at that on nature’s bounty, Civilization and Authority display up in the construct of H. Arthur King, the local Highway Superintendent. He goes bananas at the gawk of (to his eyes) a bunch of bums camping beside his newly made highway, climbs on his bureaucratic high horse and orders them out. Pop, however, an expert at dealing with governmental bureaucrats after years spent on various programs like welfare, AFDC, WIC and many others, climbs on his enjoy high horse and refuses to leave, citing an 1820 law about homesteading. He swears out a statement describing the land parcel, and the family settles in to exhibit up their land.
Not one to give up easily, King sics the local child welfare supervisor and clinical psychologist, Alicia Claypoole, onto the Kwimpers. The belief is to indicate that Pop and Toby aren’t fit to raise the kids, threaten them with the removal of the children, and thus force the Kwimpers to wing. Coincidentally, Alicia has the concept of having Toby jump her bones - except that Toby is so innocently naive he can’t instruct a pass from a hand-off (although Holly, who has her believe cap location for Toby, certainly can) . Toby’s bewilderment at Alicia’s advances will have consequences later.
Toby himself has adventures in the Innocents Abroad vein. When Holly comes up with the opinion of starting a itsy-bitsy fishing business, a gallop to town by Toby to apply for a tiny business loan ends up with his being erroneous for a bank robber, with amusing results. When Alicia tries to subvert the Kwimpers’ homesteading by showing Toby how considerable easier life would be in government housing, he ends up recruiting a retired couple to travel out to the Kwimpers’ highway bridge and homestead the virign land on the other side of the highway. And when two gangsters (Simon Oakland and Jack Kruschen) status up next door to the Kwimpers because the land isn’t policed by the county or the spot - more of King’s handiwork - Toby serves as proof that God watches out for children, drunks and fools when by a series of misadventures and unprejudiced being neighborly he demolishes their casino, wrecks their dock, bankrupts their operation and runs them out of town.
The climax of the portray comes when Alicia Claypoole has the twins and Ariadne taken away from Pop on specious psychological grounds, forcing a confrontation in front of a consider who has the power to form the removal permanent. Once more, it’s up to Toby to create things factual - if he can.
Follow That Dream is taken from Richard Powell’s book, Pioneer, Go Home! and thanks to screenwriter Charles Lederer astutely deciding not to monkey with a well-crafted book, hews very closely to the recent. He also manages to support the feel of Toby and Pop’s speech patterns and most of the book’s recent dialogue. Lederer crop only two sequences from the unusual. The first was the hurricane which H. Arthur King hoped to utilize as a pretext to shatter the Kwimpers’ continuous occupancy of their land as required by the homesteading act, and it is not missed. The second is the epilogue, and that isn’t missed either. Frankly, he did one of the best jobs of adapting a book to the veil that I have ever seen; and considering the vivisection usually performed on unique novels in Hollywood, that is praise indeed.
The five songs Elvis sings are nothing special, but that doesn’t matter. In my thought, this is the one Elvis Presley movie that could stand on its occupy even if he didn’t assert a label. Nobody is going to mistake Follow That Dream for anything but light entertainment; but entertained you will be, and delightfully so. As I said, this is the role Elvis Presley was born to play, and he plays it to perfection.
A very underrated Elvis film. Elvis is a natural in this fable of homesteading in Florida - some of the lines are exact beauties. Huge locations too! This is not your regular Elvis film - he get’s friendly abet from the rest of the cast. Go on - give it a go - you’ll be pleasantly surprised.
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