Das Gesicht in der Menge

There are two major things that I find quite fascinating as I watch this 1957 classic. The first is the prophetic, hyper-realistic portrayal of television as a pervasive medium encroaching upon people's lives in ways unheard of back in the 1950's. The second is Andy Griffith's pull-all-the-stops performance as drunken hobo-turned-media sensation "Lonesome" Rhodes. For those who know Griffith only for his homespun TV portrayals, you will be surprised how remarkably he shows the venal underbelly and high-octane charisma of a character miles away from kindly, soft-spoken Sheriff Andy Taylor.

Master filmmaker Elia Kazan and writer Budd Schulberg, collaborating for the second and last time after their brilliant "On the Waterfront" three years earlier, tell the story of Rhodes, a burgeoning pop-culture phenomenon thanks primarily to the efforts of Marcia Jeffries, a young radio program host who discovers him sprawled in a hangover on the floor of a rural Arkansas jail. He mesmerizes the local radio audience with an improvised country song about his predicament, "Free Man in the Morning", and this marks the beginning of his meteoric rise all the way to his own weekly national TV program. As he capitalizes on his folksy charm and empathetic manner, he becomes a power-crazed tyrant behind the scenes. A corporate tycoon wants to use Rhodes' influence to sway a Presidential campaign in his favor, and Rhodes' megalomania moves him lockstep into a Citizen Kane-like form of paranoia.

It all seems exaggerated but it's brilliantly observed much like a film that covered the same themes twenty years later, Sidney Lumet and Paddy Chayefsky's "Network". However, even with strong doses of black comedy sprinkled throughout, Kazan and Schulberg use more melodramatic elements in their skewering until the near-Shakespearian climax when Rhodes' comeuppance takes on a grandly theatrical fervor. In a way, it seems a shame that Griffith never got another chance to bring out his dark side on the big screen. While sometimes wildly undisciplined in his film debut, he dexterously shows the cunning and charisma of his character to a level that makes his national celebrity utterly credible.

Showing his amazing facility to elicit stellar work from a wide variety of actors, Kazan assembled a strong cast to back him up starting with Patricia Neal, who is just as devastating as Marcia, a woman torn between ambition, decency and her fateful attraction to Rhodes. An impossibly young Walter Matthau shows the beginnings of his cynical screen persona as Mel, a crafty television writer who de facto becomes Marcia's conscience. In their film debuts and making indelible impressions, Anthony Franciosa and Lee Remick play Joey, an office lackey who turns into Rhodes' immoral agent, and Betty Lou, a teenaged baton twirler seduced easily by Rhodes' power, respectively.

If the film has one flaw, it's that it runs on a bit long for the parable it tells especially since Rhodes' moral ambiguity is pretty much settled in the first half of the story. Nevertheless, this movie is essential viewing as it not only shows a powerful early indictment of television (and supports Marshall McLuhan's mantra, "The medium is the message") but provides another example of the under-appreciated artistry of Kazan and Schulberg. The 2005 DVD has unfortunately no commentary track but one strong extra, a half-hour 2005 featurette, "Facing the Past", which spotlights Kazan's polarizing testimony in front of the House Committee on Un-American Activities and the threatening role of television in the 1950's, both major factors in making the film. Griffith, Neal, Schulberg are interviewed. There is also a widescreen version of the original film trailer.

Like a lot of people who've commented on this film, I didn't get around to seeing it until late in life, and it seems as relevant today as ever, maybe even more so. I find it interesting that different people, depending on their own viewpoint, project different contemporary personalities into the mold of the film's detestable hero, Lonesome Rhodes. The list of various people Rhodes is compared to includes Bill Clinton, Ronald Reagan, Howard Stern, Rush Limbaugh, Michael Moore, or George W. Bush, suggesting that there's enough BS from all sides to go around. I did a double-take on watching this film when the reactionary right-wing presidential candidate that Rhodes promotes begins to pontificate about how un-American the notion of social security is, and how it's high time it was dismantled. That was 1957, and that cause is being worked harder than ever today. I was not aware, until reading some of the other comments here, how central a target Arthur Godfrey was in this story. In fact, I believe Godfrey is actually mentioned by name in the film when Rhodes says something like "Have Arthur Godfrey fill in for me, and tell him I'll return the favor some time."

Anyway, while this film hardly needs yet another accolade, I'll add mine to the list and say that it's one of the great under-appreciated films of its time, and only grows with stature as the years go on. And hallelujah – there's now a well-made DVD of this film that includes an interesting documentary in which we hear from Schulberg, Griffeth, Neal, Franciosa, and some film scholars. About time, too.

I just saw this movie very late the other night, and I must say WOW! Like the rest of you, I saw "A Face In the Crowd" on a regular VHS edition, but it wouldn't matter which edition I saw it in because this was one of the few movies recently that made the jaw of this movie snob literally DROP with amazement over how daring, how edgy, and how much mastery this movie had over the film-making craft.

I'm beginning to realize that in the 1950's there was a short period of time (1955-1960, say) where the world of Broadway and the theater, Television, and Hollywood came together, and the careers of people like Rod Serling, Sidney Lumet, and "A Face In the Crowd"'s own Budd Schulberg were started. The best screenwriters in the movie business became innately aware of the increasing importance and influence of the new media form Television, while the best directors (like Elia Kazan), many of whom had directed numerous plays, knew how to cull the talents of Broadways hottest and most gifted performers, and at least for a couple of years, managed to get some awesome performances out of them. That's why I view this movie in the same sort of category as "The Sweet Smell of Success", that ever so sour and bitingly satiric parable on the corruption of American glamour and fame, and how publicity is just as much of a curse as a blessing. The performances in that film are like few others in the same era, and I think its no coincidence that "A Face In the Crowd" came out the same year as the other film. The main scribes of both those films, Clifford Odets and Budd Schulberg, were experienced with TV work by the time they penned their masterpieces (though Schulberg could also claim as his masterpiece 'On the Waterfront').

So anyway, I suggest to all who can hear me and have a love enough for this film to want to see it given the presentation it deserves, that we all write to the Criterion Collection and other DVD distributing companies and ask, no DEMAND that a restored, cleaned up version of "A Face In the Crowd", with as many special features as can be rustled up, be released as soon as possible. It's like writing your congressman, except instead of asking for a new factory of national park, we're asking for the wider availability of a piece of art that has gone with far too little acclaim for far too long. Who's with me?!?

hymn Most people will think this movie is about Andy Griffith as Lonsome Rhodes, hick entertainer storyteller megalomaniac. What this film REALLY is is a condemnation of mass media and how the media builds up people to images they can't possibly fulfill. Take Griffith, small town drunk, in jail, with a story to tell and a woman to record it. His story goes over with the public and the woman decides to make Rhodes a media darling. On the other side of the screen is the smoke filled room political machine out to publicize a washed up yokel as politician that they put up for election. Sound familiar? See the film NETWORK and compare Rhodes to the Peter Finch character, Howard Beale.

This film is a scathing indictment of misuse of media, pseudo stardom and all that goes with it. It is allegory to be sure, but then everything old is new again. Take a look at the so called "celebrities" of today and how they got that way and what makes them tick... then watch "A Face In The Crowd!!!!!

One of the best pictures I've seen to date. Griffith had the part of the womanizing, opinionated, lazy, loud mouthed bum down pat. In fact, the entire cast was superb in this dynamic, gripping, and in the first half, uproariously funny drama which clearly shows how ego can not only destroy the egotist but those close to him. This film is an equal to Griffith's fine performances as Horton Maddock in "Savages" and Howard Pike in "Hearts of the West". 4 stars.