The Grapes of Wrath
A dust-choked odyssey where the shadows of the Great Depression meet the incandescent resilience of the human spirit. An old truck carries a family's hope through a landscape of fractured dreams and mechanical cruelty.
The Grapes of Wrath
The Grapes of Wrath

"The Joads step right out of the pages of the novel that has shocked millions!"

15 March 1940 United States of America 129 min ⭐ 7.8 (1,059)
Director: John Ford
Cast: Henry Fonda, Jane Darwell, John Carradine, Charley Grapewin, Dorris Bowdon
Drama
The Resilience of the Human Spirit Social Injustice and Class Struggle Collective Identity (The One Big Soul) The Erosion of the American Dream The Sanctity of the Family Unit
Budget: $800,000
Box Office: $1,591,000

The Grapes of Wrath - Ending Explained

⚠️ Spoiler Analysis

The film makes a massive departure from the novel's bleak ending. In the book, the family is broken, Rose of Sharon loses her baby, and the story ends with a surreal scene of breastfeeding a starving man. The film, instead, reorders the sequences so that the Joads find Wheat Patch, a Department of Agriculture camp. This creates a sense of hope that government institutions can actually protect 'the people.' The film ends with Tom leaving to become a labor organizer and the rest of the family driving off into the sunset, with Ma's speech providing a spiritual victory that the book denies. The 'twist' is that despite the loss of Grandpa, Grandma, and their home, the Joads have found something more powerful: a sense of belonging to a class that cannot be erased.

Alternative Interpretations

While the novel is often seen as a radical call for socialist reform, the film has been interpreted by some critics as politically conservative or 'Jeffersonian.' Critics like Vivian Sobchack argue that by focusing on the 'family unit' rather than the 'family of man,' Ford pivots the story toward traditional American values of kinship and endurance rather than systemic revolution. Conversely, the film's more optimistic ending—placing the Joads in a clean, government-run camp—has been viewed as a pro-New Deal endorsement of federal intervention. Some modern readings even see the film as a religious allegory, with Tom as a Christ-figure and Casy as John the Baptist, preparing the way for a new social gospel.