Mr. Smith geht nach Washington

Now, I must admit that this is one of my top five favorite films. There is a warmth, idealism, and kinda simple feeling of hope, that makes one believe that things will work out in the end. Capra knew exactly what he wanted, and it shines. Jimmy Stewart, in the role of his life, makes us believe, what we know is almost impossible in todays crass world.

Claude Rains is incredible as Senator Smith's evil mentor. Jean Arthur, as his confidant, plays the part so well,that we just want her to save the day.

The final scene, where the filibuster is taking place, is among the greatest ever made.

BUT THE PROOF, YOU ASK?

In the early 80s, I showed this film, over three days, to a group of 15 year old inner city teenagers. I taught Political Science in a very difficult school in Chicago. It was a new class, and not all of the "best" students took it.

I decided to show this film at the end of the year, just to see how long I could keep the students attention. I didn't expect much. Fifteen is a very tough age to keep any kind of attention span, and it was at the end of the day, 2:30 -3:15 pm. which made things worse. As the film began, there was rustling in the seats, boredom, that famous oh what a waste of time look...Mind you, this is 43 year old film, about a white Senator, in those "old" days, and being shown to a totally Afro-American crowd of 15 year olds, late in the day, (over a three day period, which meant the students would have to wait till the next day to see what was going on. ..By the end of the third day, Capra had worked his magic, and the entire class was spellbound by this film. They were there till the very end, and you could see how much they enjoyed seeing a film, that they wouldn't have looked at in a thousand years..Comments were wonderful. Any film that could accomplish this, more than 40 years after its conception, to a crowd that no one would believe would have any interest in, deserves to be truly called a "great film."

Frank Capra and James Stewart were nearly unsurpassed at the task of taking the kind of story that is optimistic but that borders on being trite, and making it into a satisfying, worthwhile movie. In "Mr. Smith Goes To Washington", they accomplish this with a little help from Jean Arthur, Claude Rains, and Edward Arnold. It's not quite on the level of "It's a Wonderful Life", but it is as good as almost anything else of its kind.

Stewart's performance is important right from the beginning - hardly anyone else could have been believable as the earnest unknown who suddenly becomes an important political figure. Even his wide-eyed appreciation for what he sees in Washington comes across believably. As the story gets more complicated and his character is developed further, Stewart is even better.

The secondary characters are also important, because the story itself is a rather stylized, though still worthwhile, statement about politics. The characters are more believable than are many of the plot developments. Rains contributes a lot as Stewart's troubled colleague, and Jean Arthur is a natural for this kind of role. Arnold plays his devious character well. Capra holds it all together with his craftsmanship, keeping the story on track and getting the most out of the situation.

It's interesting how Mr. Smith Goes to Washington feels so dated and yet so relevant at the same time. This movie itself feels like Jefferson Smith, naively striding into the homes of the cynical and skeptical modern public, only to prove that it does, indeed have something important to offer. This movie still packs an emotional punch almost 80 years after it was made and it's easy to see why it's a classic.

Frank Capra was an idealist for sure, but he certainly was clear-eyed in seeing some of the darkest problems with humanity and its institutions. At the beginning of this film, he shows us politicians who are firmly in the pocket of special interests, the degree to which is startling. A state governor (Guy Kibbee) is in charge of picking a new senator after one of the two serving for his state has passed away, but it's immediately clear that he operates as a puppet for a big businessman (Edward Arnold), a guy whose clout got the governor his position, and now who expects to call the shots as payback. We see it as one of the fundamental problems of representative government in 1939, just as it is today, so the film is highly, highly relevant.

Now it's laughable that the governor would go rogue and put the head of the Boy Rangers, Jefferson Smith (Jimmy Stewart), in there instead, based on the pleading of his children and a coin flip that lands on its edge, but that's the premise of the film. It's an obvious call to clean up Washington, and get decent, upright people in there as representatives, and in delivering this message, Capra does not attempt subtlety or realism. And I may as well say it now before I blab on, it's laughable how the kids play the role they do later in the film too, and how the other senator (Claude Rains) behaves in the end. Maybe the film is pointing out that progress will always depend more on the next generation, and that ultimately it will require those in power to summon their sense of decency and stand up for what's right.

One thing I love is just how reverentially Smith treats the job he's about to undertake. First of all, he knows it's not about him. He's also not sure how well he'll do, but says "I can promise you one thing: I'll do nothing to disgrace the office of United States Senator." After dropping off his crateful of pigeons (lol), we then see him wide-eyed as he tours the landmarks of Washington DC. The shot Capra gets of him beneath the giant statue of Lincoln perfectly captures his humility, and others the deep respect he has for the institution he's going to serve. We get a heavy dose of the ideals the country aspires to, with shots of Lincoln's second inaugural address ("With malice toward none, with charity for all") and a recitation of a part of the Gettysburg address by a young boy, while his grandfather and an African-American man look on. It's quite flowery and may have the lip curling of every cynic who sees the film, thinking of all of the times America has done evil in the world, but just about to head into WWII was not one of those times, and regardless, I can't help but admire this scene. If only all of America's representatives went with a reverence for these ideals, respected the institutions from their hearts, and felt real humility and a need to not let down his or her constituents, or the leaders who came before them.

Everyone else is aware of how the system in Washington actually works though, including the other senator (Rains), his handler (Eugene Pallette), and his secretary (Jean Arthur). Heck, even the young page who shows him to his seat is savvier. Smith says to the boy, "I'm just going to sit around and listen," meaning that he feels he has a lot to learn and shouldn't go in with guns blazing. The kid answers "That's the way to get re-elected," reflecting how deep the cynicism of the process runs. Later it's parenthetically said that "You can't count on people voting. Half the time they don't vote." These little bits are pointing out the same thing, that while we may decry the state of government, at the same time, to make it better we need to be active participants in it.

Stewart is fantastic in the film, with lots of memorable moments, such as when he nervously reads his proposal for a boys camp on the senate floor, and then later when his eyes are opened to deep corruption, which includes his father's friend and mentor, Rains's character. When he takes the Senate floor to filibuster and angrily yells "No, sir, I will not yield!" it's a fine, fiery moment, with palpable tension between the two men. I also love the softer scene with Arthur where he channels Walt Whitman in quoting his father, a man who died fighting for the little guy and the free press: "My dad had the right idea. He had it all worked out. He said: 'Son, don't miss the wonders that surround you. Every tree, every rock, every anthill, every star is filled with the wonders of nature.' He said, 'Have you ever noticed how grateful you are to see daylight after coming through a long dark tunnel? Well,' he said, 'always try to see life as if you'd just come out of a tunnel.'"

Arthur turns in a solid performance with her character, who is also inspiring. She knows how congress operates, giving Stewart (and the viewer) a little tutorial, and then coaching him from the balcony. We see that her character is jaded, but that there is still a glimmer of idealism in her, and also a healthy amount of disgust for politics. "You're half-way decent, you don't belong here," she tells Stewart. We see both of these characters go through the inevitable response to the ugliness of politics - considering leaving the aggravation and frustration of it all, because it's the fight of an underdog to try to change it, or to stay and fight, because that's the only way anything will ever change, and what great leaders have had to do too as well. As this is a Capra film, you can guess which one of these paths they take.

It's certainly an arduous path, as the political boss is incredibly powerful. There is real evil, greed, and corruption here, and Arnold plays his part perfectly. The scene where he tries to get Smith to play ball is reminiscent of Potter calling George Bailey into his office in 'It's a Wonderful Life,' and has a similar outcome. When Smith stands up in revulsion, the boss immediately turns to Plan B, which is crush him. He does what corrupt and deceitful people in politics have always done - he drums up charges of the very same things he is guilty of against those who oppose them. He also uses his power over the press to wage a misinformation and propaganda war. Maybe you'll recognize these patterns from the present day.

The ending is a little messy, and I would have liked it more had Smith somehow been shown swaying the other senators with arguments and reason. How does one reach across the aisle and bridge such a gap of disagreement and entrenched special interests? However, I have to give the film credit for shining a light on corruption in politics, and I loved how its truthful message was so powerful that many offended politicians branded the film as communist propaganda. As Smith says, what's needed in politics is "plain, ordinary, everyday kindness. And a little looking out for the other fellow too." Indeed.

Since the beginning of the art form, movies have generally fallen into two categories: the realistic, and the fantastic (fantasy-based). There are some that point out that the films of Frank Capra unduly fall into the latter, that they are completely far-fetched and fastened in their own time, and even invented a pejorative term "Capra-esque" to describe any non-cynical, heartwarming picture that has a message. His great films, like It Happened One Night, It's a Wonderful Life, and of course, Mr. Smith Goes to Washington, however, are not fixed in a single era, but all eras, the truest definition of a classic. And considering it was released among true powerhouses in 1939, a year as important to movies as 1998 was to baseball, its ideals, story, and general excellence shine as bright today as it did over 60 years ago.

A Senator from an unnamed, middle America state dies and a new one must be appointed by Governor Hubert Hopper, a puppet whose strings are held by newspaper magnate Jim Taylor. They need to find one that would be easily controlled by the now-senior Senator Joseph Paine (played brilliantly by Claude Rains), so a bill allowing a building of a dam near land by the Willett Creek owned by Taylor can pass in the Senate. After his initial choice is rejected by Taylor, and Taylor's handpicked man is shot down by the public, the governor chooses Jefferson Smith, played to perfection by James Stewart, a boy scout leader and local hero who is both wholly idealistic in his patriotism for America but naive and blind to the actual process. After he gets embarrassed by the local print media, Mr. Smith begins to learn the harsh realities of DC. Paine, Smith's boyhood hero, takes him under his wing and suggests that Smith try to create a bill. Smith agrees, and with his assistant, Clarissa Saunders (played by Jean Arthur), they create a bill to create a campground for boys from all over the country to learn about each other and the civic process, much to the initial dissuasion by Saunders. Smith then wants to choose a site near the Willett Creek, the same site where the dam is to be built and when his superiors and true string-pullers find that out, major complications ensue.

Although the basic premise is David vs. Goliath, the story is wholly originally and was probably one of the earliest pictures to suggest the government as corrupt. The characters are played excellently by all principal actors, with Mr. Smith you root for whole-heartedly, Mr. Taylor you root against for his sheer arrogance and greed, and Mr. Paine, who you pity as you see a man who lost his initial zest to serve the public and is now a jaded shell of his former self. A great performance was given by Harry Carey, Sr., who plays the Vice President/President of the Senate for comic relief. The lines where completely believable and the parts of Smith's final filibuster that were shown give the most impact. There is a beautifully shot scene with images of the monuments and sights of Washington with several national anthems synchronized as the score. The climax is as tension-packed as drama can get, and while the ending may seem rather sudden, and everything isn't completely or neatly resolved, it works perfectly and ends the movie on a happy note.

Obviously, few if any people elected to public office has the moral character, conviction, and general good heartedness of Jefferson Smith, and I doubt whether the government would be better if it was. The movie showed an ideal, a supposed "lost cause" of truth in government. And although it is next to impossible for Capra and the eternal good guy Jimmy Stewart to ever fully change the world of politics with just a motion picture, at least it shows that maybe once in a great while, being the good guy has its definite rewards. If (using the same analogy of the 1998 baseball season) The Wizard of Oz and Gone With the Wind were the Mark McGwire and Sammy Sosa of 1939 moviemaking, then this would be like Cal Ripken voluntarily ending his Iron Man Streak, something done with full class and the highest respect in mind, and that elevates an ideal of being the good guy and sticking to your dedication brings the greatest of riches. This picture is flawless in all respects and a true classic, with thought-provoking ideas, wit, a little bit of platonic romance, and an excellent cinematography and score, and deserves the rank as a 10 out of 10. And in giving this rating, either I'm damn right or I'm crazy.