Comparison: 'Judge Priest' vs. 'Cookie's Fortune'

The Law

When it comes to prosecution, one must favour Judge Priest. The 1934 picture is wholeheartedly committed to making its legal process informative, reflective of the era it is set in and an enjoyable one to watch (especially with those additional spit gags thrown by Francis Ford in his dialogue-free performance).

Judge Priest himself, as a character, seems quite aloof. He lives in a daydream, spending his time all lonesome and reflective on his dead wife. And he's well informed—forever collecting, meddling, and recalling truths of his peers that lead up to the rewarding legal battle showdown.

Though, one must nod with approval at Cookie's Fortune. Its depiction of misguided law-abiding police officials is forever amusing. They're all over the place, and all are a bit comical in their own identifiable ways. And there's also the delightful early performance by the future Claws lead Niecy Nash as Wanda Carter.

But all in all, when it comes to the law, no matter how far fetched it might be—Judge Priest wins the round.

Fishing

This is an easy one. Cookie's Fortune is the champion.

Judge Priest does a fantastic job of honing in on the idea of fishing at the start—after all, it opens the film as an alibi for a black man who is about to get wrongfully prosecuted for stealing chickens. And then there are the never-ending references to this beef liver bait. It's fairly hilarious, especially when Stepin Fetchit's Jeff Poindexter has to wander on back to town to get it.

However, rewinding—Cookie's Fortune does a solid job of really relishing the fishing process. Not only is it actually shown, but it is also a great narrative device for nostalgia, and a way of life for Holly Springs (there's a whole lot of fish talk, gutting and cooking of fish in this film). And then there's also the encore to consider—one can't help but really admire the so-called 'simple way of life' closing provided by the last chunk of romantic and familial fishing scenes.

Family Secrets

Yes, Cookie's Fortune is more complex, and far less predictable in this round of battle. Perhaps even more enjoyable with its narrative form of a puzzle. But then again, it is really somewhat forgettable... as the film's main crux is not the family secrets, but rather the undoing of all the anger and resentments produced by such secrets. As viewers, I think, we just can't wait to feel a bit of relief for Cora Duvall (Julianne Moore) after her tormentor is shown the door.

On the other hand, though, when watching Judge Priest, as a narrative hungry audience, you kind of sort of know that the revelation will bring about the happy ending. The risk is almost minimal. So it is a bit of an under-baked pie in that regard. Though—this is a John Ford film after all, and one can't but expect such an ending from Mr Ford... in fact, one would probably be unhappy if he didn't wrap things up in such a well-groomed presentation.

But before pleading for Cookie's Fortune, I also have to add a remark about the Judge Priest's actual revelations, and the way with which they are delivered. It is all quite outstanding. The war scenes intercut with the jostling patriotism of the courtroom, all forced by the hand of a judge that is not actually sitting behind the bar, is a scrumptious cinematic feast of editing, emotional manipulation and impressive filmic technique.

However, Cookie's Fortune cuts much deeper. The runtime is longer, and the performances, which include the undoing of Glenn Close's persona, is a far more enticing, satisfying and dramatic adventure. So, yes—another round for Altman here. He wins the familial secrets battle. Ding!

Americana

Both films smell of a dusty old American town.

In the case of John Ford's film—we get that all so familiar genius construction of a sound stage. The place is a wonderful and excessively 'made' locale, and yet minimalist in how Ford depicts it... it's a real classic era production. You sort of love the locale and almost wish it to be offered up again in a different film (oh—there is an actual 'sequel'—so rejoice)... though, fewer flags would be welcomed!

Oddly enough, perhaps here one can serve a similar blow at Cookie's Fortune. The film actually goes to great lengths to mock American culture, and even more so—forces the film into a series of caricatures. Yes, one can retort with an argument of a similar sort when it comes to Judge Priest... especially with that Stepin Fetchit 'coon' performance, and that of the 'all happy and all signing' Aunt Dilsey. However, in the case of Judge Priest and pleading its defence—one must recall historical context within the era the film was made in and what it was representing.

And on that front, when looking at Cookie's Fortune' as a contrast to the contemporary of its own setting, there's no denying that the American world and its cultural presentation of the small town it depicts is saturated to the max—I mean, is there even an inch of Holly Springs left unexplored?

Conclusion

Neither one of these films is really better than the other. There are heaps of pros and a few cons for both. At a whopping 85 years of age, perhaps Judge Priest has aged the least... but then again, a non-seasoned olde film viewer might shrug it off as a slow burner, and favour the more melodramatic Cookie's Fortune with a cast that's predominantly still well known, and well—alive. I recommend viewing both. They're both great films.