Drums in the Deep South (1951)

Directed by William Cameron Menzies; produced by Frank King and Maurice King

The beginning of the American Civil War divides two friends (James Craig, Guy Madison), the latter joining the Union army, the former the Confederate. It also ruins the chance Craig has to persuade a friend’s wife (Barbara Payton) - and previous love - to go away with him. Three years later, Craig is assigned the mission of slowing a Northern field army by occupying an impregnable mountain and bombarding the only available railway. Madison, by coincidence, is given the duty of dislodging the Confederates from the fastness.

Drums in the Deep South falls into the category of interesting but not really entertaining. (Yes, I surely couldn’t have created that category myself.) As a military historian, the accuracy in the film met with my approval. Firstly, the soldiers involved are principally from the arm of the artillery, which, though called the ‘king of battle’ is rather a Cinderella service in the films, behind the dashing cavalry and the more numerous infantry. The story-line follows the realistic attempts of the Northerners to beat the Southerners using various guns and means at their disposal. At one point, they resort to a frontal assault, which gunners would not have conducted - but in this case, the only troops available were those of the artillery. Items such as these appeal to me not only as an historian, but as someone who appreciates a writer who takes the trouble to know about his subject.

As a movie, though, Drums in the Deep South is not in the first grade. The acting, especially in the interpersonal drama of the initial quarter, is not expert; indeed, it strikes me as obvious and heavy-handed. It runs more smoothly once the action begins, but there is less of a demand by then upon the performers.

The direction, too, is obvious. A storm approaches at the film’s start, and breaks just as news of war reaches the characters. As well, there are loud rolls of thunder at the appropriate times when emotions run deep between the leads. It reminded me rather of the sort of skits Carol Burnett would do so well. The direction also doesn’t serve the story, in that, while the script is pretty pedestrian, it has its moments of excitement; these, however, are not utilized to full effect, probably because of the direction.

Drums in the Deep South’s potential was wasted, unfortunately, and what could have been a more rousing action film becomes an almost slight war movie.