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Places in the Heart

Places in the Heart

Drama · 1984

In 1935 rural Texas, recently widowed Edna Spaulding struggles to survive with two small children, a farm to run, and very little money in the bank - not to mention a deadly tornado and the unwelcome presence of the Ku Klux Klan. Edna is aided by her beautician sister, Margaret; a blind boarder, Mr. Will; and a would-be thief, Moze, who decides to teach Edna how to plant and harvest cotton.

Movie details

Places in the Heart

“The story of a woman fighting for her children, for her land, for the greatest dream there is... the future.”

1984 Drama 1h 51m

Critical arithmetic

One number, for now.

TMDB

7.2 / 10

Community rating

In 1935 rural Texas, recently widowed Edna Spaulding struggles to survive with two small children, a farm to run, and very little money in the bank - not to mention a deadly tornado and the unwelcome presence of the Ku Klux Klan. Edna is aided by her beautician sister, Margaret; a blind boarder, Mr. Will; and a would-be thief, Moze, who decides to teach Edna how to plant and harvest cotton.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Places in the Heart?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Robert Benton

Written by

Robert Benton

Sally Field

Sally Field

Edna Spalding

Lindsay Crouse

Lindsay Crouse

Margaret Lomax

John Malkovich

John Malkovich

Mr. Will

Danny Glover

Danny Glover

Moze

Ed Harris

Ed Harris

Wayne Lomax

Ray Baker

Ray Baker

Sheriff Royce Spalding

Amy Madigan

Amy Madigan

Viola Kelsey

Court is in session

Put Places in the Heart on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.