Meet John Doe
Meet John Doe and It´s A
Wonderful Life are probably the finest films by Frank Capra. At
the same time the most optimistic examples of the solidarity of
common people but as well his most fathomless films. Often attacked
for his sentimentality including his faith in what we call the
“American dream”, Capra is much more complex. It is also
remarkable that Capra had quite a lot of very different admirers, the
great documentary filmmaker Marcel Ophuls, one of the most important
American independent filmmakers John Cassavetes, the Japanese
director Yoji Yamada, John Ford or the Indian master Satyajit Ray.
More or less the only afinity of Capra`s very special mixture of drama
and comedy exists today only in the films by Japanese Yoji Yamada.
Yamada has in common with Capra that
his “solidarity" with the common people were never really approved by
critics influenced by left ideologies. Ideologies are blind and
useless if it comes to Cinema.
Meet John Doe is at the first sight one
of these films which were supposed to prepare America for the entrance
in World War II. Other examples are Hangmen also die by Fritz Lang,
To Be Or Not To Be by Ernst Lubitsch, The Great Dictator by Charles
Chaplin or Foreign Correspondent by Alfred Hitchcock. It is
remarkable that Meet John Doe is probably the only Anti Nazi-film in
Hollywood where the danger of fascism has already reached America
while especially The Great Dictator and To Be Or Not To Be leave the
fascism in an Europe which was still engrossed by the still “neutral”
America.
D.B. Norton is in several aspects
a wannabe American Hitler and at the same time a representant of
economical power, means something like Krupp and Hitler at the same
time.
The most daring aspect in Capra´s film
is the confrontation between a real solidarity of the people and how
easy it can be abused by political interests. Today we know that one
reason the German fascism could exist was the distortion of certain
traditions. For examples the solidarity of the working class before
the fascism was distorted into a pseudo people´s solidarity against
Jews or communists and many other ethic and political minorities. For example the Nazis changed texts of traditional songs of the working movement into pure fascistic
propaganda songs.
It is an oversimplification to
say that Capra only focused on his idealized America because he
always works with this distortion of the American dream and he always
deals with the endangerment of this dream. Capra´s optimism can not
exist without these moments of a total social danger.
To deal with film history means often
to brush away the dust and to ask often the reputation these films
once got. From these reputations often only the simplifications
survive. The dynamic in the finest films by Capra is always between
idealization and a sharp questioning of his vision of
America. An often one dimensional criticism was often chewing on Capra´s anticommunism, his
conservatism or his seeming sentimentality. Meet
John Doe has very disturbing moments and obvious hints to American
sympathies for a fascistic state embodied by D.B. Norton and his
nephew who wears a Nazi-like uniform.
Even more striking - the front line
between the usual American capitalism and the tendency to an
authoritarian state is very thin – which is quite a lot for a
director which was put carelessly in the conservative corner.
The John Doe-movement with all its
national conventions, a kind of civil right movement against
corruption and exploitation turns once near the end into its
opposite. The solidarity of the masses turns here caused by manipulation into an angry mob.
It is one of the most disturbing moment in Capra´s work. It was
interpreted as a christian metaphor, a hint to the crucifixion of
Jesus Christ, but an interpretation like so much written on Capra
again a simplification. Meaningless to say that these often as
conservative labelled masters John Ford and Frank Capra were the very
few during the time of World War 2 with a vision of social reality in
America.
From my very German perspective this
moment is one of the most representative image of the Twentieth
Century. In very few moments we see a quasi revolutionary movement is
changed and distorted into a dangerous
mob. Except in the films by John Ford and Terrence Malick , the
American dream never appeared on film more vulnerable than here. How
this American dream turns into a nightmare has the unthinkable
dimension how the post-revolutionary German in the 1920s turned into
one of the most barbaric terror states in the history of mankind.
In a way Capra is much closer to more
recent analyses of the phenomenon of fascism than it seems at the
first view. Fascism is hidden overall as well in America and often
under coziness.
After all Meet John Doe is one of
Capra´s richest and most complex films. The seemingly naivety of
Capra is nothing else than a wrong track. It should not be overlooked
that between all the elements he played with, comedy, melodrama and
sentimentality, there is often a sharpness.
It´s a Wonderful Life (1946)
Another irony about the oversimplified
reputation of Capra as a conservative American: There is still an
internal memorandum of the FBI (source Wikipedia) on this film which
calls it “subversive communistic propaganda”.
The history of reception of this film
is legendary. First a commercial disaster which ruined immediately
the independent company by Frank Capra, William Wyler and George
Stevens “Liberty Films”. For years this, Capra´s most ambitioned
film was forgotten and rediscovered in the 1970s because the
copyright was expelled and TV stations could broadcast it for free. The fact that this film has now the reputation as
one if not the most famous Christmas film has a long history. Like
all of Capra´s masterpieces, It´s a Wonderful Life has as well a
very disturbing part, if not one of the most scariest part in Capra´s
work at all. Without any doubt it was this film which used all facets
of James Stewart´s art of acting, the lovable average American but
as well the frustrated small town man who looses one dream after
another. The abyssal aspect of James Steart´s performances we will
see later in Vertigo, Rear Window, The Man Who Shot Liberty Valance
or in Two Rode Together was established in his interpretation of
George Bailey. Between a sometimes euphoric optimism, brooding
depressive and sometimes even violent and self destructing character
remains one of the finest performances by James Stewart.
It is among so much as well one of the great ensemble
pieces in American Film history, Donna Reed, Thomas Mitchell or
Lionel Barrymore ( who was already very sick) just to mention a few
– created unforgettable characters. The film remains in the fictive
small town Bedford Falls. George dreams to see the world fails
always. He is stuck in this boring little town when he overtook the "Baily and Loan"-bank, a kind of alternative bank which gives small credits
to underprivileged ordinary people. Even his honeymoon fails while his little
bank is in a crisis.
In its narrative structure, It´s a
Wonderful Life is Capra´s most unorthodox film. It begins with a lot
of snow falling at Christmas eve over the sleepy little town. From
the off we hear Gerorge´s friends and his family praying for him who
is in danger to commit suicide. Than a fantastic and very burlesque
moment when angels in form of stars discussing who has to sent down
to help George. Unfortunately only a former clock maker is available
who is not the brightest guardian angel at all. Joseph, one of the
superior angels has to introduce this former clockmaker Clarence into
George´s Life. What an idea:! The first hour of this film both angels
watch George Bailey´s life until that crucial moment at Christmas
eve 1946 like they watching a film with us. It is a kind of film in a
film but also a compilation of all themes of previous films by Capra,
his love for ordinary people who try to survive in a society which is
dominated by money. Even part of Capra´s own history are reflected
in a poor Sicilian immigrant who owns an own house with the support
of the “Bailey and Loan”.
The second part connects with the
overture.
One of the most heartbreaking moments takes place at Christmas
eve, George comes home fill of despair, because the money of his
bank disappeared which means probably prison for him. One of his
daughters plays on a piano a simple Christmas song which goes on his
nerves. This melody played on piano will appear in this euphoric
final later but at the moment it seems to be sad. A big miniature
bridge is built among the Christmas decoration. Yes, building
bridges, air fields etc was always George´s dreams . All these
dreams has failed, he never left this town. In that Moment George
smashes this miniature bridge and parts of the decoration he smashes
his own dreams. It is a subtle hint to his intention to destroy
himself. When “saved” by his guardian angel”, the film turns
again into burlesque and later in a very bizarre and surrealistic
nightmare. Bailey sees for some times the world without him, a
nightmarish town called after the greedy rich man who would have
controlled Bedford Falls without the “Bailey and Loan”-Bank. It
is the bleakest scene in Capra´s work. The people George used to
know, can´t recognize him. The people, friends and even his mother are full of bitterness. His younger brother
is in this parallel universe dead since childhood. We know that
George saved his life when he was a kid, a kid which does not exist in this parallel world.
His wife became an old maid. This scene
is an absurd balance act between burlesque and sometimes very
disturbing nightmarish moments. James Stewart is now an Undead who
have even never lived. It is night and even horror elements are for a
moment the dominating aspect of this film. Even in a more formal
abstract sense, It´s a Wonderful Life proofs once again that
Capra can´t be labelled as a director of feel good films. Coziness,
idyll can´t exist in a film by Capra without its reverse.
There might be a lot of possible
explanations why this, without doubt one if not the finest film by
Frank Capra was a commercial failure. It appears as Capra´s
premature swan song, the summing up of all his previous work. It is
an ambitious project but already made in a Hollywood which has
nothing in common with the Hollywood Capra where was so successful.
As how in a lot of some of the greatest
American films, It´s a Wonderful Life seems to consist of some
different movements more structured like a symphony or an opera and
far away from a straight told story. The film is one of the
phenomenons in the history of American Cinema, a “sensitivity which
is very American but very off-Hollywood” (David Fincher on Terrence
Malick) and can be compared with films like Stroheim´s Greed,
Welles´ The Magnificent Ambersons, Ford´s The Searchers
or finally Malick´s The Tree of Life.
Yes, and finally the Happy End, the
most euphoric in the history of American Cinema the most emphasized
praise of the solidarity of the common people. It is moving not
because it makes us happy but because it suggests as well that we
have the right to be happy even for a moment.
The end is a reward we deserve after we
went through a tour de force of all emotions possible in a human life
And there is a lot more to say about
this film and maybe it had to happen that it is actually rediscovered
in the 1970s after it was forgotten for decades. Maybe the distance
of time is needed to open our eyes. It´s a Wonderful Life is despite all its heartwarming and funny moments as well often a very daring
film. You have to dig in this film for getting the beauty of it.
I am quite happy with the fact that
It´s a Wonderful Life became in the last 10 years a traditional
Christmas tradition for me, probably the most moving Christmas song
cinema ever created.
Rüdiger Tomczak
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