Just Get Up Off The Ground, That's All I Ask: Mr. Smith Goes To Washington (1939)

Much like Capra's other revered classic It's A Wonderful Life, there is a heavy cloud of nostalgia that covers Mr. Smith Goes to Washington, which affords it a place high on top film lists one that is hardly questioned and deservedly so, since it is nothing short of perfect.  Yet, when one considers the holy grail element of this specific film, it becomes problematic to think that given its understanding as a great American film it is often set aside for rewatching or referred to with any critical seriousness.  Sure, it gets mentioned as a joke here and there, most recently I believe in a tip of the hat to Senator Davis' epic filibuster, but it seems as though Mr. Smith Goes to Washington is not earnestly considered for its invective look at the state of American politics, one that considers the many flaws of "business as usual politics" that are run by a ton of old white guys who are purely in it for the side money they receive from maniacal tycoons with wild capitalist endeavors.  The movie I am describing sounds as though it would have come from the heart of New Hollywood, or would equally have been the product of an Aaron Sorkin script, but no, Mr. Smith Goes to Washington, in all its forward looking criticism and indictment of a corrupt American legislative branch was made in 1939, some eighty odd years ago.  It is one thing to look at the civil rights movement and feel frustration at the lack of change in a fifty year period, but it is literally doubly troublesome to realize that political corruption has been a topic of condemnation within American popular culture rhetoric for almost a century, the problems of which have seemingly gotten worse.  Indeed, much like Capra's other previously mentioned Stewart vehicle, Mr. Smith Goes to Washington spends much of its time with a narrative that is bleak and seemingly lacking in any resolve, yet it is during the final moments of the film that all is saved through the good in humanity, which as idealistic as it may be is sold with such earnestness through the ever amiable acting of Jimmy Stewart and the melodramatic leanings of Capra.  Mr. Smith Goes to Washington, unlike a political film of the new era, lays on the indictment, only to suggest that even in its darkest moments, good can and should prevail.  Tragically, if anything, that is what betrays this film to a bygone era.  Were this film to be released today, it would undoubtedly fail in the face of a crippling sense of disillusionment about the American political machine.

Mr. Smith Goes to Washington begins with an announcement of rather unfortunate news regarding the loss of a senator in a non-specified Western state.  This untimely death leads a group of party politicians in a frenzy attempting to find a replacement for the senator that will not only make constituents comfortable, but will also prove to bend to the will of the powers that be, as such the "elective" body calls upon Jefferson Smith (James Stewart) a wide-eyed idealist who is most known for his community outreach regarding orphaned boys as opposed to possessing any sort of intelligence.  Initially reluctant to take up such a task, Smith realizes that such an appointment will allow him to pursue a lifelong goal of creating a national boys camp wherein both well-off and underprivileged kids can attend camp by paying whatever pocket change they can afford.  Of course, the blind sense of idealism Smith brings to the senate is quickly challenged when both the long standing legislative officials and media alike use him as a battering ram for their own self-advancement.  Nonetheless, Smith assures himself that if he is to prove successful in his position he must learn to play by the rules to the most specific details, therefore, recruiting the help of his secretary Clarissa Saunders (Jean Arthur) in the process.  Initially, Saunders is rather hesitant to aide in Smith's idealism, particularly since she is afforded financial gain by his mockery, however, when his passion captures her heart, not to mention Smith's good looks, she yields to his request and begins an equally driven attempt to pass his bill.  The bill in its seemingly innocent nature, comes up against opposition by members of his own state, whose vested interests in the wealth of a local tycoon, are challenged since Smith plans to build the camp on a creek that is home to a prospective dam.  It is at this point that the entirety of the senate turns against Smith, including his own party, tricking him into not only being absent during the voting of the bill, but also blackmailing him with false papers about the profits he would gain from such a camp being built.  Knowing that he has truth on his side, Smith pushes on engaging in a filibuster that he hopes will show not only the power of democracy, but also speak to his honesty in the situation.  While attempts are continually made to discredit Smith, one of his colleagues who was in on the corruption eventually succumbs to his own guilt and admits to Smith's honesty.  After a full twenty-four hours of expounding upon freedom and the constitution, Smith has successfully proven his case and assumedly earned the camp he greatly desired, as well as a symbol of democracy working for the people, as opposed to a singular person.

Corruption in politics is certainly not an infrequent theme in cinema, both within and American and global context, however, much as Capra considers the multiple facets of spirituality in It's A Wonderful Life, here his camera focuses on the layers of deception and indifference that result from a split-party elective body in the United States that is solely focused on assuring one's own skin through continual re-election.  The running joke throughout the film is the notion that once a politician lands a seat on the senate he is solely concerned with assuring that he keeps that position until death, the only way of which to do so is to keep his (I use the masculine because the film clearly calls attention to the problematic patriarchal element of politics) mouth shut and nod in agreement to his senior colleague.  This silencing bars any sort of idealism from sprouting within the hallowed halls of the capitol, so much so, that when a person does speak out it is met with opposition.  The idea of opposition, is not simply an attempt to discredit one's character in a ethics committee, but within the media as well, which is portrayed in an equally scathing manner.  In fact, it is the media who seem intent on maligning Smith solely for their own humor, painting him as a wild man who is coming to chop away at the absurdity of government, although to be fair at least one of those accusations proves to be true.  The corruption is further problematized when it is shown that a reputation can be ruined even before a man is allowed to defend himself, as is the case with Smith when he attempts to have his constituents speak on his behalf, only to be outpaced by a financial strong arm that controls all the media in his area.  The brilliance results not from Smith's refusal to bend to the will of corrupt power, but from the fact that it is through a small, non-profit youth paper that his truth is spoken.  This sort of grassroots moment is wonderful because it shows that with a sincere message and the zeal to deliver it one can truly accomplish things politically.  This is not the misguided frustration of an Occupy movement, or the throw money at the problem focus of big money charity-based lobbying.  It is a simple idea of speaking truth to both visible and hidden power, a pertinent message if ever one existed.

Key Scene:  For all the amazing diatribes that Stewart throws down in this movie, it is the small and rather unusual moment that involves a close-up of Smith fumbling with his hat that is the highlight of the film.  Not only is it unusual for a film of this era, it also happens to be a telling sign of his character which would evolve in assertiveness throughout, his hat and his control over it continually serving as a parallel.

Buy this movie. NOW.

No Man Is A Failure Who Has Friends: It's A Wonderful Life (1946)

When people start talking about the "best" films for various occasions, themes and genres debate immediately arises as to what one uses to define each situation, particularly when such categories engage in multiple decades.  However, when it comes to debates about the best Christmas film of all time it seems nearly universal that people believe Frank Capra's It's A Wonderful Life to be heads above any of its competition, a surprisingly interesting phenomenon to emerge, considering that it is hardly a movie solely centered on Christmas time and, further, it has such a heavy element of darkness and sadness that one would be hard pressed to play it without concerns for shedding a tear or two.  However, after having the great opportunity to see an high definition transfer of this seminal work, I am more than willing to give all the credit to this film for its general well-regard.  Of course, It's A Wonderful Life certainly exists within a history of cinema which was incredibly exclusive, focusing primarily on a white middle class society, with a male at its helm.  Yet, the inherent likability of Jimmy Stewart, paired with a narrative so simple and direct that viewers nearly have it ingrained in their memories from birth, making for a film which causes generations to pass its perfection on from one age to another.  Seeing this film now, for the first time since childhood, also allowed me to appreciate some of the more experimental and revolutionary elements of a film that I figured to be wholly melodramatic, whether it be the fade from grey to blurry to normal picture as we are introduced to George Bailey for the first time, or the talking stars bit...something seemingly more appropriate for Night of the Hunter.  Also, for as oft quoted as the bit about bells and wings has become, I was surprised by how little of the narrative centers on the famous scene.  Essentially, viewers are provided with one of the greatest single character studies in the history of film, so directly focused on understanding the intricacies of human suffering and sacrifice, without engaging in any level of pretentious preachiness.  Even the latent Christian elements of the film appear to take a back seat to karma like understanding of human existence.

The story of It's A Wonderful Life is extravagantly simple, we are dropped in medias res on the town of Bedford Falls praying for the well-being of George Bailey (Jimmy Stewart), who from what the film suggests is suffering from a bit of bad luck.  Quickly viewers are transferred an image of the cosmos as spectral stars discuss a means by which to save the ailing George who is about to commit suicide, agreeing to send an angel in need of wings named Clarence (Henry Travers), the film through the angels begins to recount the experiences of George, in an attempt to explain why he has been driven to the point of seriously considering the end of his life.  Beginning with a moment in which he saves his younger brother in a sledding accident to only lose hearing in his ear, we are shown a hard-willed George who is also incredibly self-sacrificing when his actions assure that others will be aided.  Progressing at a perfect pace through George's growing older we are led to believe that George has given up aspirations of world travel in order to help maintain his father's business, save his town from being bought out by the terrible capitalist Mr. Potter (Lionel Barrymore), or assuring for the comfort and well being of his wife Mary (Donna Reed) and their children.  Yet even after these varied forms of sacrifice, a bit of trouble financially on Christmas Eve and an accidental misplacement of money by his uncle at which he risks losing everything causes him to toss away hope and stand on the local bridge with thoughts of ending it all.  However, when a loud splash is heard, George jumps to the rescue of none other than Clarence, who explains openly that he is an angel and after George exclaims that he wishes he had never been born, provides him with such an experience, one in which all his friends are miserable under the ruthless and greedy hands of Mr. Potter.  Taking joy in realizing that even in this moment of misery that he has helped countless members of his community, George pleads to return to his life, one which leads to his return home to the open arms of his family and the monetary support of an entire community, George realizes that his unquestioning willingness to help others has proven more bountiful than he could have imagined.

As the young Woody Allenesque theater manager at my local theater suggested when introducing the film, viewers are led to seriously consider what "a wonderful life" truly is while watching this film, which is certainly true, but such a reading is far too simple since the film makes it quite clear that it is going to undermine capitalist desires and American individualism within nearly every scene, at times even vilifying its existence via Mr. Potter.  Instead, I really think the film, despite its latent Christian metaphors and imagery, asks viewers to consider, at the very least, the philosophy they use to engage with daily life, one that is not centered in materialistic obsessions in the slightest.  While George Bailey certainly does not find himself void of physical desires, particularly in his younger years, he is not obsessed with money or physical signifiers of success like his brother, business patrons or even his wife at times, but instead his own happiness, which proves far to intertwined with the happiness of others.   This approach to the world is nearly identical the that of a zen buddhist, in so much as he often tosses away worldly desires with the hopes of making sure others are comfortable, while also engaging in some seriously positive karma.  One could see him as a fool for such actions, but that would suggest that he engages in them with assumptions that he will receive compensation at some point, however, it is clear from the onset that he offers help out of earnest, not out of ulterior objectives.  Of course, one cannot completely ignore the Christian elements to George, as he is exceptionally Christlike in his endeavors.  Of course, George's form of Christianity is a far cry from the nonsense and bigotry seemingly tied to so many contemporary sects of this particular belief system.  While I am not a Christian myself, I would make a strong case that It's A Wonderful Life exists as a transcendent example of exemplary behavior both in a religious and social context.

Key Scene:  The world without George scenes are stellar and really become more intense of the big screen, culminating in a moment where Jimmy Stewart's scare visage consumes the screen...I felt my heart leap considerably.

So apparently this film comes on television some 300 plus times a year.  Watch it at any point, although it is a bit mesmerizing on the big screen and well worth watching in that context if possible.