There’s a flaxen-haired dame smoking at the bar. Cut out of POOR WHITE TRASH is a brief shot of her trying to sidle up next to our plain yogurt hero, who quickly shoos her away. His boss has a chat with him about needing to man-up and be more competitive, uttering the great line, “Stop this ho- lier-than-thou roumalade.” To put his money where his mouth is, Martin’s boss has entered him in the pirogue boat race—something rare for an outsider to do, apparently.
Marie enters to pay Ulysses (who is also at the bar preaching about how awesome he is) the money her dad owes him, so he will leave them both alone. He responds with a huge grin, belting out “Hello Marie! Comment allez vous, baby?” Because she is mentally insane, she does not im- mediately swoon at this bayou belt hunk right then and there. It is funny watching this scene in the POOR WHITE TRASH version, since—for having very recently experienced a violent mud rape—she seems only moderately annoyed with him. He re- fuses her money and leaves, while the corn-fed dame with moxie has run off with Marie’s money. Martin and Marie leave together to get her money back from the strumpet. They quickly find her al- ready hitting up some poor schmoe. In return for helping her get her hard-earned money back, Martin asks Marie to be his tour guide for the day. (Seriously? She turns Ulysses down for this?) After a couple min- utes of no additional scenes, there’s a brief cut-in of Ulysses hold- ing an axe and cutting wood at 33:13 while some of the locals are racing up greased poles. The pirogue races begin and, in the PWT cut, Emil’s voice gets back to the original Fowley voice track. Long story short, Martin almost wins but is beat-out by a beautifully humble Ulysses but nevertheless gets to meet Marie’s family and have dinner with her. Meanwhile, Ulysses bothers her fam- ily and pronounces New York “Neuw Ywork Neuw Ywork.” Martin’s boss gives him the old heave- ho, since apparently,
winning local boat races enhances one’s architectural prowess.
Martin drops Marie off at her house to a pissed-
off Emil but the two cats are already smitten. After this, around 48:19 in BAYOU, the theme music pops back up over a shot of the water in the day- light. Then, in the PWT version, there are a couple of newsreel type shots cut-in of dilapidated water- side houses and buildings, including one with the words PEOPLE OF THE LIVING GOD painted on the side appearing at 47:22. Similar shots will pop in later, adding some authentic texture to the film. Since he’s lost his real job, Martin starts work- ing with one of the local fishermen and chats up some of the boat guys. The “big black wind” gets mentioned, which is some decent foreshad- owing. Then, while his new boss starts singing, there’s a weird cut-in of more water shots at the 50:10 mark in PWT. Martin borrows the boat for the day and woos Marie some more, giving Ulysses ample time to harass Emil and Martin’s boss. All of this leads to the incredible comment, “My friend, you talk like you crack hickory nuts.” I’ve seen where others have commented on Carey’s loose diction, but trust me when I say he is one of the more intelligible actors here. Damn near the whole cast talks like they crack hickory nuts! If this movie was a music move- ment, it would be called mumble-core. At the
Martin stakes his romantic claim on Marie.
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