The story is about the Dabney family and it begins in Mississippi just before the Civil War. The Dabneys are a proud family and not in favor of secession. But they and the folks around them are a distinct minority and eventually they end up seceding from Mississippi once the state joins the Confederacy. Not surprisingly, the new Confederacy is NOT pleased that this county has joined the Union...and bad things are a comin'. But there's much more to the tale and it centers around Morna Dabney (Susan Hayward). She is vivacious and beloved by Clay--a man who loves the idea of war and secession. But when Morna is injured and it appears as if she'll never walk again, Clay shows his true colors...and the roguish Keith (Van Helfin) steps up and shows he really is a heck of a guy. This is enjoyable and with very nice acting. The only real problem is that what happens to the Dabneys and the county is pretty much foreordained and there are few surprises here. The story, by the way, was inspired by a similar situation in Jones county, where such a rebellion against the state of Mississippi occurred.

Copyright jointly by Universal Pictures Co., Inc. and Walter Wanger Pictures, Inc., 24 June 1948. New York opening at Loew's Criterion: 25 August 1948. U.S. release: August 1948. U.K. release: 31 January 1949. Australian release: 2 December 1948. U.S. and Australian release through Universal-International. U.K. release through J. Arthur Rank-General Film Distributors. U.K. and U.S. length: 109 minutes. 9,789 feet. Australian length: 9,431 feet. 105 minutes. SYNOPSIS: The Civil War. Seceding from Mississippi, the Dabneys of Lebanon Valley try to hold out against Southern troops. NOTES: Location exteriors filmed in the Smokey Mountains of Tennessee and North Carolina. COMMENT: A cut-price Gone With The Wind, ambitious yet overlong, with all the action saved for the last reel. Rather splendidly and expensively staged the action is too. Those viewers with stamina and patience enough to endure the slow-moving, long-winded plot, the cardboard characters and the posturing ("acting" is too generous a word) of such players as Susan Hay ward, Van Heflin, Ward Bond and Whitfield Connor, will doubtless enjoy the sudden excitement. A few may resent being roused from their slumbers. But most cinemagoers will not bother to see the film at all. A wise decision - they will avoid boredom and ennui - but they will miss out on some grand scenery, colorfully photographed by Winton Hoch. The interiors lit by Lionel Lindon are attractive too - glossily picturesque to contrast with the more rugged work of Mr Hoch. Technicolor also enhances the costumes and sets leaving little to the imagination, though Miss Hayward is not always seen at her best. Perhaps the blame for the mechanical performances of the principals must be largely apportioned to George Marshall who directs throughout in a rather static, lifeless style. He is not the right man for period soap opera. Comedy is his forte. Some of the support players are more fluent, particularly Julie London who steals every scene in which she is allowed to appear. Karloff has an odd role as a friend-of-the-family Choctaw Indian. He is miscast - but we enjoy seeing him anyway.

Set in 1860s Missisippi with the prosperous Dabney family , founders of a rich plantation in Levington . The first founder was the proud grandfather Big Sam : Russell Simpson , though he remains really faithful to the Union . His son is called Hoab : War Bond and he has two beautiful daughters : Susan Hayward as Morna Debney , Julie London and a son : Richard Long . While war bursts out Hoab attempts to remain neutral and to withdraw the land around his plantation to avoid problems . Hoab gains support from local journalist Keith Alexander : Van Heflin . Grandfather Big Sam and Hoab attempt to keep their family out of the civil war but soon find find themselves much affected by tragic circumstances . They decide not get involved in the war because they believe that this isn't their war , but then things go wrong . Eventually , all of them get involved when their mansion is invaded by the Confederation troops . It is time of war and violence and tragedy reaches the Dabney family. When she lost her lover ... her sister gained one ! A thrilling and excting epic set in early Cvil American War in which both sides are really confronted , as the starring family , The Dabney , remains loyal to Union , while the daughter's boyfriend is an extreme Confederate officer . The films contains a similar plot to most successful "Shenandoah" 1965 by Andrew V McLagen with James Stewart , equally concerning a peaceful family becomes reluctantly involved into the Civil War resulting in fateful consequences . Main and support cast are pretty good . As Van Heflin is nice as the local newspaperman who finds himself in the middle of war and while falling in love for Morna Debney . And Susan Hayward is fine , though overacting at times , as the stubborn heir who suffers an accident being impeded to walk and along the way he is extremely enamored for a Southern officer . In addition, War Bond is the brave father who will stop at nothing to save his children , Boris Karloff plays competently an Indian who attempts to destroy the enemy plans , Russell Collins as the patriarch who vows to remains neutral , Julie London as the beautiful sister who will betray to Morna , besides : Richard Long as a valiente son , Whitfield Connor as the Cofederate Major , Arthur Shields as a Reverend , Rudy Dandridge as a servant , among others . The motion picture produced in medium budget by Walter Wanger was professionallity directed by George Sherman , though with no much originality , neither enthusism and nor vigour , but there is entertainment enough . Sherman was a prolific artisan who made a long career , directing films of all kinds of genres and with penchant for Western , such as : "Big Jake" , "War Arrow", "Treasure of Pancho Villa" , "War Arrow" , "Tomahawk" , " Comanche Territory" , "The Last of the Badmen", "The Sombrero Kid" , "Santa Fe Stampede" , "Cowboys From Texas" , "Rock Mountain Rangers" , "Covered Wagon Days" , "Frontier Horizon", "Outlaws of Sonora", "Wyoming Outlaw" , "Pals of the Saddle" , "Overland Stage Raiders" , "Three Texas Steers" , "Outlaws of Sonora" , among others . Well worth watching.

Half backed shenanigans down plantation way. A story of a wealthy family of farmers who wish to remain separate from the insanity of the Civil War and the fiery minx who is the eldest daughter of said family. More interesting for what it represented to its leading lady than for how the film turned out. When Susan Hayward landed in Hollywood after being spotted in a magazine advertisement she was still Edythe Marrenner a green kid from Brooklyn who along with a flock of other young hopefuls tested for the role of Scarlett O'Hara in Gone With the Wind. Obviously she didn't get the part and if you've ever seen her test it's obvious she was nowhere near ready. However it planted the seed for her desire to if not play Scarlett then at least play a Southern belle. Within a short time she was discovered by producer Walter Wanger who recognized her potential and through the years carefully cultivated her career eventually making the film which won her the Oscar, I Want to Live! Along the way, about a decade after her initial GWTW test, Wagner developed this mint julep mediocrity for her to fulfill her dream. The thing is it's an odd choice to achieve that goal. Her character, the interestingly named Morna Dabney, after making a memorable entrance disappears for great swathes of the film's running time, first through infirmity and then being removed from the main action of the story for most of the climax. When the camera does train itself on her she is breathtaking, at the peak of her beauty in gorgeous Technicolor but the script hands her a confused character to play, one minute pining for the lout who runs off with her hussy of a sister, a young and lovely Julie London who is given little to do, the next passionate about Van Heflin playing another murkily defined role. Around the edges of the story are Boris Karloff ludicrously cast as an Indian and Ward Bond who by the end is hamming it up to the nth degree. This is beautifully produced but a moderate affair. However for fans of Miss Hayward it's worth watching once but she has many much better movies in her filmography.

Universal seem to have thrown a lot of cash at these sub 'Gone with the Wind' shenanigans but really should have paid more attention to the script. Although a potentially interesting idea - a small valley tries to stay neutral during the US Civil War - the movie concentrates almost exclusively on a vapid central romance lifted almost wholesale from that earlier Selznick classic. Van Hefflin tries hard to inject the kind of dangerous humour that Clark Gable brought to Rhett Butler but Susan Hayward is hopelessly miscast as the young, flighty Southern belle. An excellent actress in the right circumstances, here she looks far too sensible for the role and resorts to a permanent wide-eyed stare to convey youth and innocence. She merely looks like a startled rabbit. Elsewhere, what should have been the pivotal role of the valley's patriarch is simply not given enough screentime, thus reducing Ward Bond to the occasional ineffectual splutter and the climax to an empty, mechanical spectacle devoid of emotional resonance. Boris Karloff brings a touch of class to the role of the friendly native American retainer but Julie London is wasted in a thankless role. Overall, it's the kind of picture that the studio must have presumed would make itself and this lack of commitment results in a significant lack of quality.

One of a number of big-budget, Technicolor productions by the recently rebranded Universal-International with which the new management was attempting with disappointing results to raise their profile with an increased number of ambitious prestige films; which eventually morphed into their run of glossy women's pictures of the fifties. Produced with his usual discernment by Walter Wanger, directed by veteran George ('Destry Rides Again') Marshall and ably adapted by Alan Le May from a 1942 novel by James H. Street, 'Tap Roots' was the studio's attempt to make it's own 'Gone With the Wind', with luscious titian-haired Southern tigress Susan Hayward at the centre of some pretty racy dialogue and situations. Ms Hayward is frankly too old for the early scenes (she turned 30 during production and was thus on the verge of becoming the handsome middle-aged grand dame she gracefully matured into over the next fifteen years). But as the film progresses and her character matures her performance grows with her. All the acting is good, particularly Boris Karloff, despite being in blackface as an American Indian (SPOILER WARNING: the film never completely recovers from the almost casual way he gets killed off), and Ward Bond gives one of his best performances in an unusually prominent role in an 'A' feature.

If you've read Gone with the Wind trivia, you know that hundreds of actresses vied for the role of Scarlett O'Hara. A twenty-year-old Susan Hayward was one of them, and to make up for her loss, Hollywood made Tap Roots ten years later. She stars as a feisty, flirty Southern belle on a large plantation just before the outbreak of the Civil War. There are two men in the picture: one she loves through thick and thin, even when he chooses another woman; and a strong, gruff one she bickers with who vows to make her love him. Sound familiar? Well, sorry Suzy, but Tap Roots is no Gone with the Wind. The acting is ridiculously over the top, the characters are thinly written, and the only likable one in the film is Boris Karloff, a friend of the family who's Native American and completely accepted by everyone-which is not very realistic for that time period. I was rooting for Suzy and Boris to get together, since he was the only one in the movie who seemed to care about her, but since the film was trying to mirror the 1939 epic, that ending seemed unlikely. Unless you absolutely love Susan Hayward, you're not going to want to watch this wannabe. Raintree County is a better pseudo-remake, and Scarlett is a thrilling sequel. Tap Roots is just stinky.

1948's "Tap Roots" has been described as a poor man's "Gone with the Wind," and that pretty much sums up the simplistic plot, with Van Heflin and Susan Hayward supplying the love interest. As Hoab Dabney, patriarch of the Lebanon Valley in Mississippi, Ward Bond enjoys one of his most prominent movie roles, ably assisted by the scene stealing Boris Karloff, surprisingly cast as Choctaw Indian medicine man Tishomingo, equally adept at healing as he is wielding a mean whip. The slave-owning Dabneys decide to stay neutral as the Civil War gets underway, rousing the townsmen to defy the Confederates, regardless of the consequences (Jonathan Hale has one scene as General Joseph Johnston). By this time, Karloff made infrequent returns to the studio that made him a star (ending with 1953's "Abbott and Costello Meet Dr. Jekyll and Mr. Hyde"), and his casting was most definitely inspired by his recent portrayal of Guyasuta, Chief of the Senecas, in Cecil B. De Mille's "Unconquered." The darkly-complected actor had played a multitude of Native Americans, mostly villainous, during the silent era, but had only these two roles since the advent of talkies (his only sound Western was 1930's "The Utah Kid").

Among the hundreds of hopefuls for the role of Scarlett O'Hara was young Susan Hayward who was about as unknown as you could get when David O. Selznick was testing potential Scarletts. Almost a decade later Hayward got to play a lead as a southern belle in Tap Roots. Although there are some superficial resemblances to Scarlett O'Hara in Morna Dabney this film is not Gone With The Wind by a stretch. This is set in Mississippi at the beginning of the Civil War. The Dabneys are the local Cartwrights in the area, a proud plantation family with the requisite slaves. However they regard the Lebanon valley area and all its residents as serfs blacks and whites and Russell Simpson the head of the clan correctly sees that if Lincoln is elected and there is civil war, it's going to end badly for the south and life which includes slavery ownership for him is at an end. So his solution is for his part of Mississippi to secede from the rest of the state and declare neutrality. But Simpson dies and his son Ward Bond sends out a call to all who don't favor secession to join him in his valley fortress and keep the impending Civil War out. Bond has two daughters, Susan Hayward and Julie London and a son Richard Long. Hayward is courted by cynical newspaper owner/editor Van Heflin, the Rhett Butler of the piece and Whitfield Connor a soldier set to leave the army and fight for the south. Hayward has them both panting hot and heavy for her and her love life gets hopelessly entangled with the politics of the Civil War. There were pockets of Union sentiment all over the South during the war. Not everyone wanted to fight for some planter's right to own people. But nowhere was there anything like this recorded in the history of the era. Union sympathizers simply hunkered down and waited for the war to end however it would. Hayward and Heflin are a pair of my favorite players and they were both good, doing as best they could to carry a preposterous plot premise. Ward Bond has a great scene going totally mad as he sees his valley being shot to smithereens by the Confederate army. Boris Karloff is also in the cast. He plays a Choctaw Indian medicine man who seems to be the only one around and he's a retainer of Russell Simpson, a kind of Dabney family guardian. I'm sure the book on which Tap Roots is adapted better explains his presence, but he seems grafted into the film as far as I could tell. Tap Roots is far from the worst film Hayward and Heflin were ever involved in. Still if Universal Pictures thought they had their own Gone With The Wind, they fell way short of the mark.

Some suggest that this film was meant to be a poor man's "Gone With the Wind". A similar charge has often been leveled at the later film "Band of Angels", starring Clark Gable and Yvonne De Carlo There's probably some truth to this charge, but any film that deals with a subject somewhat resembling GWTW is going to be negatively compared to it. Remember, these 2 films are only half or less as long as GWTW. Why not just accept them on their own merits. They are all distinctive enough in their details to stand on their own. There were, of course, Southern Unionists before and during the Civil War. Sometimes they were concentrated in particular regions. An obvious example is the northwestern part of Virginia, which seceded to become West Virginia. One Unionist was Newton Knight, who lived in Jones County, MS. He enlisted in the Confederate army, but eventually deserted, claiming to be a Unionist forced to fight for the Confederacy. He was the leader of a group of mostly deserters, mostly from Jones county and surrounding counties, who acted as guerillas against government troops and officials. For a time, he was jailed as a deserter, and his homestead burned, as an example. At one point, Knight and his supporters hid in a swamp, which government troops had great difficulty penetrating. This is the historical background from which this story is derived. The Dabneys are the ruling extended family in the Levington Valley of MS. The patriarchal grandfather, Sam Dabney((Russell Simpson), is infirm on the eve of secession of MS from the Union, and dies after an emotional outburst against secession and its probable traumatic effect on his empire. His son and heir apparent: Hoab Dabney(Ward Bond), also is vehemently opposed to secession and against the war for similar reasons, and talks of seceding from the state if it secedes from the Union. Hoab's daughter, Morna(Susan Hayward), is engaged to a cavalry officer(Whitfield Connor, as Clay) in the US army, who will join the Confederate army, against the wishes of the Dabneys. However, Morna severely hurts her back from a horse fall, and the doctor claims she will never walk again(There is conflicting evidence whether one or both legs are affected). Clay pretends that his love for her has not now diminished, but he soon begins dating her sister Aven(Julie London), and soon they are married. Meanwhile, journalist Keith Alexander(Van Helfin) has professed his love for Morna whatever her physical condition in the future may be. Morna's attendants keep massaging her legs and encouraging her to try to walk. One day, Keith's talk makes her angry, and she stands. With more exercises, she eventually is able to walk, albeit with a limp. Meanwhile, Clay's troops have blockaded the southern pass out of the valley, so that the residents can't get supplies from the gulf port. Hoab and Keith have organized the valley residents into a fighting force against Clays troops. But Clay's artillery, especially, and setting of fires destroy the Dabney's mansion and other buildings. Hoab's and Keith's men retreat into a swamp, which Clay's troops are able to penetrate, and a battle ensues. I leave the climax and conclusion for you to see. Available at You Tube in Technicolor. The most interesting relationship is that between Morna and Clay. The combination of her incapacitating injury and Clay's joining of the Confederate Army wrecked their romantic involvement. When it was discovered that Clay's army was about to attack the valley from the north, whereas Keith and his men had gone south for supplies, she rode to Clay's camp with the idea of convincing him that she still loved him more than Keith. She seduced him, with the intent of delaying the assault on the valley until Keith's men could return. But Clay saw through her plan and used the time to alter his attack plan and move his cannons forward, in position to bombard the Dabney Mansion.