Mr. Smith Goes to Washington

When a vacancy in the senate pops up, there is a mad dash to fill the seat with the right kind of person.  Under the thumb of James Taylor (Edward Arnold), the corrupt political boss, the governor looks for their new senator to be someone who won’t get in their way.  They find a young man who leads the Boy Rangers, Jefferson Smith (James Stewart), and send him off to Washington with the senior senator and friend of his late father, Joseph Paine (Claude Rains).

Once in Washington, Smith acts like a typical starry-eyed newcomer, wondering off to see all the monuments, fumbling with his hat around the pretty girls and naively thinking he can quickly make a difference with his new senate seat.  For Clarissa Saunders (Jean Arthur), Smith’s chief of staff, it’s almost too much to bear seeing such an innocent guy sent straight to the lions den without even realizing it.  She is well aware of the corruption going on between the men who hired Smith and has lost her faith in the government because of it.  But when Smith wants to propose a new bill for a National Boys Camp, he finds out about and sees how he could possibly take down the whole corrupt machine.  Saunders ends up coaching Smith and cheering him on as he does one of the craziest things that can happen on the senate floor, a filibuster.

Stewart’s performance is just wonderful as the innocent Mr. Smith.  From the very beginning, when we hear the governor’s sons going on about Mr. Smith, we know he’s going to be a special kind of person.  The earnest way he is so amazed by all the monuments and history of Washington is cute and refreshing compared to all the bleak corruption around him.  Even if you find his innocent fascination goofy, we see that he’s very kind, especially to the boys who run errands on the senate floor.  I’d wear that Boy Ranger pin with pride.  And when it comes time for Smith to filibuster, which seems like a hopeless cause for quite a while, Stewart does a wonderful job making his long-winded bravery something to admire.

I first saw this film in high school US government class, my teacher thought it was perfect for illustrating some of the aspects of senate processes.  That one scene where Saunders explains the entire process that a bill goes through is quite educational, if you can keep up with her.  A filibuster isn’t something you see very often, but the film also explains the rules behind that as well.  We see that being a senator can be a crafty business, even if you’re not dealing with any corruption.

Mr. Smith Goes to Washington is a really great film that hold up well to a twenty-first century audience. I believe this is Frank Capra at his best and Stewart at his sweetest.  It’s smart, patriotic with honest values that doesn’t get too sweet or cute.  The balance is just right.

“All you people don’t know about lost causes.  Mr. Paine does.  He said once they were the only causes worth fighting for.”

Shane

When Shane (Alan Ladd) rides onto the peaceful Starrett family’s ranch, he sees that the Rykers, the local ruffian cattlemen, are trying to push them off the land they have settled on and built up.  He stays to help the family around the ranch, grateful and respectful of their hospitality.  The father, Joe (Van Heflin) is thankful to have another strong man to help him with his work, and his son Joey (Brandon De Wilde) instantly idolizes Shane when he sees his gun.  The mother, Marian (Jean Arthur) is weary of all the violence around the area lately and seems mildly disturbed at her sons fascination with guns.  As the violence against the settled families in the valley rises, some men talk of abandoning their homes and others want to fight.  When one of their own is killed by the notorious Wilson (Jack Palance), Joe is determined to fight for his land and family.  But Shane knows his place is to fight and Joe’s is with his family.

Shane is an interesting character.  From the moment he just rides out of nowhere, we can tell from the start that he’s a good guy.  Without being prompted, he works hard to take out a stump that has obviously been given up on by Joe.  To the family, he shows a strong work ethic, respectful and placid attitude.  But when pushed too far by Chis Calloway (Ben Johnson) or Wilson at the saloon, he can erupt into an old fashioned cowboy fist fighting machine.  There seems to be an inner struggle for Shane, he wants to settle down on a piece of land like Joe has, but he’s got a conscience that tells him he’s the best man for a fight.

At just eleven years old, Brandon De Wilde earned an Oscar nomination for his supportive role as little Joey.  Joey seems to portray the ideal audience and role for any cowboy film.  Shane tries to protect Joey from the violence going on in the valley, but with his small stature, Joey can hide easily and watches many of Shane’s fights in the saloon.  There are so many quick shots of Joey’s big eyes soaking up all the action.  He admires Shane like he’s a gun-slinging god, but these ideas seem to be mostly Joeys, since he never sees Shane shoot until later in the film.  After that, of course, Joey is completely gaga for Shane.  It’s really endearing to hear such a little excited voice say, “Gosh all mighty that was good!”

The best way to enjoy Shane is to become fully invested in little Joey’s mindset.  Every little boy will want to grow up to be Shane but until then, they’d take Joeys place in a heartbeat, especially at the end.  Start to worship and idolize Shane from the moment he rides in and think nothing but guns and fighting.  Well, let a little room in so you can understand the reasons and implications of fighting, I’m not sure how much of that really gels into little Joey’s head.  But ah, to be a little boy who finds pure happiness in the ideas of being a gun-slinging cowboy.  That’s the perfect audience for Shane.

“You know, I like a man who watches things go on around. It means he’ll make his mark someday. ”

You Can’t Take it With You

I think most people are embarrassed by their family at one point or another.  It’s almost natural at some ages.  But when we grow out of that and can step back and see that we love our folks for all the odd things we used to be shy about, what a great revelation.

In Frank Capra’s You Can’t Take it With You, greedy company owner Anthony P. Kirby (Edward Arnold) is about to create a monopoly, all he needs is to buy one last house.  His son, and therefore vice president, Tony (James Stewart), is less interested in business and is seeing his stenographer, Alice (Jean Arthur).  As he talks of marriage there is that need to meet her family.

Alice’s grandfather, Martin Vanderhof (Lionel Barrymore), owns that last house that Kirby needs for his monopoly.  Inside that house, holds a family doing whatever it is they love most.  Alice’s mother is writing a play, her father builds fireworks, and her sister dances to her heart’s delight.  The family’s house is always buzzing with music, movement and visiting friends.  When Tony first meets everyone, he’s bowled over seeing everyone doing just as they please with no interest or concern with money.  We can see an instant admiration for the idea, but with his business upbringing becomes confused by it.

As the big day for the Kirbys to come over and meet the Vanderhofs nears, Alice politely asks her sister not to dance, nor her mother to talk about her play.   It’s normal for us to sweep a few things under the rug when we’re expecting company.  However, Tony wants his parents to meet Alice’s family in their natural state and brings them over a day early, acting like he got the days mixed up.  He could not have come over to a more hilarious scene.  The rest of the film is a wonderful misadventure and comparison of the miserably rich and happily poor families.

One of my favorite moments is the way Mr. Kirby is portrayed when he first meets the Vanderhofs.  He looks like a miserable toad stewing in unsavory mud.  The family offers him a chair, that every time he moves a certain way it hit him in the back of the head.  He sinks deeper in his muck with every annoying jolt.  The family tries to be friendly and make polite conversation, but it turns to the fact that Kirby has horrible indigestion, which they diagnose as ulcers.  I doubt a more miserable creature had ever entered that happy home.

You Can’t Take it With You is full of wonderfully fun moments and great values about the importance of family and living happily.  As kids, we are encouraged to pursue whatever it is that we love to do.  Sadly, as we grow into adulthood and find our lives ruled by money, that can become more difficult.  This film may be a little unrealistic, but it puts everything into the correct perspective.  I’d rather be a happy film-blogger than an office slave caged in a cubical, I’m thankful for this opportunity and no one has scolded me for it yet.

“Well, Sir, here we are again. We’ve been getting along pretty good for quite a while now – we’re certainly much obliged. Remember all we ask is just to go along the way we are, keep our health; as far as anything else is concerned, we leave that up to you. Thank you.”

Talk of the Town

Under suspicion of arson and murder, Leopold (Cary Grant) has just broken out of jail and fled to the home of his childhood sweetheart, Nora (Jean Arthur).  Knowing that he’s innocent and struck with a injured ankle, she decides to hide him in the attic, but that same night Professor Lightcap (Ronald Colman) arrives a day early.  He’s rented the home so he can write a book on law.  After a while of jumping through hoops to keep Leopold hidden, he’s introduced to Lightcap as the gardener.  They get along swell and share some very philosophical ideas about laws and justice.  Once Lightcap discovers Leopald’s true identity, he’s faced with the decision of upholding the law or helping a friend.

Professor Lightcap is the most interesting of the three main characters because he’s strung into the middle of the action and has the most inner conflict with so much to lose and gain at once.  During Lightcaps first day at the house, there’s a slew of visitors, everyone from the press, police and one man who informs Lightcap of some very good news.  He’s currently being considered for the Supreme Court, he just needs to lay low out of the papers for a while.  With an escaped man in the house and Nora’s ideas of hoping that Lightcap can help him, we know laying low won’t happen.  And that’s where things get predictable.

Another side of Lightcap comes out later in the film, where he starts to question his beard he’s so proud of.  You see, I guess his beard is a symbol to the world that he’s an old stick-in-the-mud intellectual now and has no time for trivial things like romance or dancing.  He realizes a way to help Leopold with his case, but must sacrifice his beard.  It’s one of those moments where the physical change helps us identify his change of heart.

Let’s start with some positives.  There’s a good mix of drama and comedy, one doesn’t overbear the other.  I had a few goodhearted laughs in that first act.  There are even elements that make this film a thriller, romance and political drama all at once.  Really, nearly everyone can enjoy this film.  And with the characters varying from escapee, intellectual and the chick ideas are not narrowed or one sided.

This film sports an all star cast with Cary Grant, Jean Arthur and Ronald Colman but is barren of acting nominations.  I was kinda disappointed.  That’s basically the feel of the whole film, it’s good at face value, the plot catches your attention but in the end it isn’t much more than a slew of pretty faces in a story that goes on too long.  There were a few good bumps in the road I didn’t anticipate, but all in all, I saw it coming.

Mr. Deeds Goes to Town

Longfellow Deeds (Gary Cooper) is a small town man who writes postcard poetry and plays the tuba.  When his distant uncle dies and leaves him twenty million dollars, he heads to New York.  Assuming that he’s an ignorant sap, lawyers and business men instantly flock around him to swindle him out of his money.  Mr. Deeds’ isn’t so daft, but when he stumbles upon a lady in distress he falls for her immediately, not realizing that she’s a newspaper reporter.  Babe (Jean Arthur), the reporter, sticks to Deeds’ side to expose and exaggerate all the wonderfully odd things about Deeds.  She doesn’t realize it, but she’s falling in love with him and the more she writes about him the worse she feels.  When Deeds decides to do something honorable with his new money, the articles are used against him to claim that he’s insane and not fit to handle such a grand amount of money.

If anyone read that and said, “Hey, didn’t that movie have Adam Sandler in it?” …shame on you.  Alright, I’ll try to take that back, but still, Sandler can’t hold a candle to the great Gary Cooper.  Also, Sandler is good at portraying a dope.  You know, he makes funny voices, sings The Hanukkah Song and he was the freakin’ water boy for heaven’s sake!   Sigh, I guess it’s alright today, since Mr. Deeds is supposed to be a kinda dopey guy, but in the good-hearted fun way, not the over-the-top goofy ‘but-mama-says’ Sandler way.

I’ve only seen parts of the Sandler Deeds (the urge to vomit was too extreme).  The original Deeds never even caused a hiccup.  The story is sweet without stupidity, Cooper inspires genuine laughter (and does the little echo scene so well).  If this film seems interesting to you, please see the original.  If you really are a diehard Sandler fan, see both.

Sadly, I can imagine this film being remade again with an even goofier guy.  Just imagine the crap Justin Bieber will be cranking out in fifteen years.

“That guy is either the dumbest, stupidest, most imbecilic idiot in the world, or else he’s the grandest thing alive. I can’t make him out.”

The More the Merrier

With the over-crowding in Washington D.C., Connie (Jean Arthur) decides to rent out one of her spare rooms in her apartment.  Benjamin Dingle (Charles Coburn), a well to-do millionaire can’t find a room anywhere, so he pushes to the front of the line for Connie’s apartment and convinces her to let him stay.  He sees that she’s lonely and in need of a good, clean-cut young man, but she brushes his ideas off.  Mr. Dingle conforms to her hilariously elaborate morning schedule and meets Joe Carter (Joel McCrea), a good, clean-cut young man looking for a room.  Mr. Dingle takes the liberty of offering him half of his room, with the idea of playing match maker for Connie, only to find out she already has a suitor.

From the very beginning, this film does comedy well.  The narrator speaks of pleasant, leisurely living while images of people rushing around and being stuffed into taxis are shown.  It goes on describing how hospitable and welcoming Washington is, “eagerly throwing wide her doors” only to show numerous No Vacancy signs and Mr. Dingle unable to find an apartment.

The real comedy, and best scene in my opinion, is Mr. Dingle’s first morning with Connie.  They’re up, precisely at seven, and Mr. Dingle is running around with an alarm clock in one hand and Connie’s schedule in the other.  He gets locked out in his pajamas, accidently takes the coffee into the bathroom and can’t find his pants after he makes the bed.  He later calls the morning schedule, “the steeplechase in the morning.”  The level of slapstick comedy rivals The Three Stooges at times and left me rolling on the floor.

Sadly, the rest of the film just isn’t that enjoyable.  There are a few fun moments, like Mr. Dingle trying to hide Joe from Connie and a bar scene where we see how the statistic of eight girls to one guy can make a pack of women seem like hungry lions in heels.  Throughout the film, the fun helium balloon starts to loose pressure and sag to the ground where we know the charming boy will get the girl and Mr. Dingle was right all along.

Though Jean Arthur was nominated for best actress, it was only Charles Coburn who brought home an Oscar.  His role as Mr. Dingle is just wonderful.  He’s a heartfelt, romantic match maker and lives by the motto he constantly shouts: “Damn the torpedoes, full speed ahead!”  Best of all, he’s capable of pulling off a high level of physical comedy while keeping his character’s high class dignity and intelligence.  Even when he’s caught his suspenders on a door knob and flings his pants out the window, we don’t think he’s a dope, just in too much of a hurry.

“I tell you what. We’ll try it out for a week. End of the week comes, if you’re not happy, we’ll flip a coin to see who moves out.”