Welcome to California: Home of Sacrifice and Exploitation
By Brian Carroll, with comments by Michael Ronan, Lyndsey Collins, and Ian Garsman
[1] Trekking across the nation in search of greater economic opportunities, rural American families of the 1930s had little idea of the realities they would face upon arriving in the self-proclaimed promised land of California--as exemplified by the Joads’ advent. A turning point in the classic film The Grapes of Wrath, the Joads finally reach the beautiful California vistas that they have heard so much about, hoping to build a new, prosperous life in the unfamiliar place. In this pivotal scene, however, their celebrations and excitement are equilibrated by the death of Grandma, a painful hardship used to reflect the sacrifices made in pursuit of the romanticized American Dream. Though it happens to be one of Grapes’ brightest scenes in a literal sense, under closer inspection, the scene is actually one of the film’s darkest segments--plagued with a grief and uncertainty that foreshadows the suffering that lies ahead in this new territory. In a historical sense, therefore I would argue that Ford uses this given scene to represent all of the families who left behind their old lives, made sacrifices, and traveled across the country during the Dust Bowl Era in search of a better life, only to suffer more upon reaching this “promised land.â€
[2] As the rest of the family marvels at the superficial -- the vast landscapes and greenery -- Ma remains anguished in the background, clearly carrying an exorbitant weight on her shoulders. She alone realizes the price paid for pursuing the American Dream, and while her facial expressions strongly infer her uncertainty about the future and the sacrifices already made, she refuses to surrender. Ma is the metaphorical rock upon which the rest of the family leans for support, as suggested by John Ford’s utilization of a low-angle shot when capturing her throughout the scene--a shot that helps to define Ma’s character. By portraying her in such a powerful position, Ford establishes Ma’s strength as well as her credibility with the audience, which allows the filmmaker to assert meaning through her words and actions. After all, while there are many cinematic complexities within the scene, Ma’s dialogue and actions are the key elements that capture the film’s essence.
[3] In particular, Ma’s revelation within the scene that she chose to hide Grandma’s ailments from the family until they reached their destination is representative of the working class’s sheer determination to succeed and prosper against the odds. While the Joad family could have stopped to get Grandma the care she needed, Ma realized that doing so would likely prevent the family from ever reaching California, something that she was not willing to risk. (see comment by Lyndsey Collins) As a result, Grandma essentially becomes a martyr, dying peacefully to enable her family to continue their journey without problem. Uncertain about whether or not this human sacrifice was too steep of a price to pay for something so intangible and unpromising as the “American Dream,†Ma’s emotions are captured clearly by Ford through the use of a close-up shot. (see comment by Michael Ronan) Facing the audience so that none of her family members can see the anguish in her eyes, Ma’s contemplative look dampens the celebratory mood established earlier and sets a new, somber tone filled with anxiety that remains for the film’s duration. (see comment by Ian Garsman)
[4] Technique-wise, Ford also makes use of various other shots and cinematic practices to symbolize and speak to the film’s overarching issues -- in particular, the high-angle, long-shot with the Joad family looking out on the beautiful California valleys. This shot, more than any other, captures truth and puts the Joad family in perspective. While they seem to be in a position of power--perched high above the valley--in all actuality, this is but a mirage, or a false sense of reality. As a closer look at the particular shot shows, the Joad family is miniscule compared to the seemingly endless landscape, symbolizing their overall insignificance and the improbability that they will ever truly make a name for themselves in California. This is further captured in the fact that, after this brief shot of the family, Ford does not show the rest of the Joads (other than Tom and Ma) again for the rest of the scene. Instead, they remain lost in the background where they are virtually muted and forgotten, a sad but realistic fate for those working class members exploited throughout the Dust Bowl Era.
Comments
Brian states that migrants to California “had little idea of the realities they would face upon arriving in the self-proclaimed promised land.†As omniscient viewers of the film, we know from the get-go that the journey the Joad family undertakes will not be fulfilling. I do agree that the Joads’ arrival in California is ironically a departure, both of Grandma’s mortal life and the “American Dream.†The most joyful scene in the film is indeed a mirage. There is no greater economic opportunity at the edge of the continental United States, the last place work might be found. However, I disagree that Ma or any members of the Joad clan realize this, even with the sobering death of their Grandma. I believe these things are only apparent to us, the audience. Although the revelation of Grandma’s death is devastating, I do not think that Ma ever questions the pursuit of the “American Dream.†I believe that Ma’s decision to allow Grandma to pass shows that she will never consider it either “intangible or unpromising.†Ma is willing to sacrifice anything to get to California because she believes so strongly that opportunity lies there. I believe rather than anguish, Ma is feeling relief having finally made to it California with her family; she even finds some comfort in the fact that California will be Grandma’s final resting place. Her tone and her expressions in the scene evidence this. In her final speech Ma says, “But we keep a'comin'. We're the people that live. They can't wipe us out; they can't lick us.†Throughout the film, she does “refuse to surrender.†Ma is not regretful; she is uncompromising in her pursuit of the “American Dream.â€
Unlike Brian, I believe Ma was more realistic than determined. Yes, Ma was set on making it to California, but that is not why she didn't stop to get help for Grandma. She didn't stop because they simply couldn't afford it. The Joads barely had enough food to feed the family; there was never going to be enough money for Grandma to see a doctor or get medicine. Though I'm sure it tormented her, Ma accepted these facts and went on with the journey. She knew that if the rest of the family found out about Grandma's ailments they would have tried to convince her to stop because no one is as practical as Ma. Earlier in the movie, Ma is asked if she wants to take one last look at her old land before the family heads out to California. Ma Joad replies, “We’re going to California, ain’t we? Alright, then let’s go to California.†Her family is surprised by her abrasiveness, claiming she was “never like this before.†She goes on to say, “I never had my house pushed over before. Never had my family stuck out on the road. Never had to lose everything I had in life.†Ma does not seem excited to leave for California, nor does she ever express hope for a better life in their new home. Ma simply knows that there is nothing for her in the Midwest anymore, and dwelling on the past won’t help her. Ma is once again being realistic and levelheaded in an extremely difficult and heartbreaking situation. She knows she must go to California because that is the family’s only chance of survival.
I feel that this scene provides more than just emotional dialogue and specific camera shots. Why is Ma so reluctant to get out of the truck to view the beautiful landscape of California? Why does she eventually come out but sit alone next to the truck looking depressed? She is obviously affected by the death of Grandma, but a deeper analysis reveals her true emotions. Ma is reluctant to look at the beautiful landscape because she is aware that it is not what it seems. While the others are in a state of awe, she is not stunned by the picturesque and serene landscape. She only becomes more depressed about the situation her family is in. Ma’s dialogue makes her appear optimistic about the future, but her actions show she is seeing everything rationally. For instance, when speaking to Tom she covers her eyes. This is because the sun is blinding, but, more significantly, she does not want Tom to see her face. Covering her face conceals her true feelings and emotions. Ma is consistently a figure who perceives everything as it truly is. You are right by saying, “Ma is the metaphorical rock†and to support this by characterizing her for being aware of her family's situation in society. In this scene she is overcome by sadness by the bleak outlook of the future of the family and not just Grandma’s death.
