El secreto de vivir

I had the privilege to watch the recently restored version on the big screen, or at least, a reasonably big screen, in the "Arsenal", the cinema of the Berlin Filmmuseum. And it was simply wonderful, a heart-warming experience. This film leaves you with such a pleasant daze, you almost want to shake hands with every stranger you meet when you're back on the streets.

What's there to add about one of the best loved films off all time, packed with gems and first-rate performances? Gary Cooper is just perfect in the title role as the seemingly ignorant small town tuba player from Mandrake Falls, Vermont. When he's informed he has inherited $20 million, he instantly leaves for New York to take care of the estate. Immediately everybody in town wants a piece of him, businessman, relatives and journalists, but he somehow manages to outsmart them all.

A deceptively simple story, this film is so much more than just a romantic comedy. There are some of the typical ingredients that so many Hollywood thirties-films contain, such as the typical depression-era social conscience, but when handled this way, it even puts a smile on the face of the most grumpy film theorist or historian. Jean Arthur has never been more appealing than this in a fantastic role as a hard-boiled newspaper journalist who initially is after Deeds too, but - off course - things turn out a little different than she thought. There's a not a single dull moment in the whole film, fast paced, a razor-sharp script and stellar performances all contribute to the enjoyment of the crazed proceedings in this film. One of the many highlights: When Deeds lets his butlers holler in the hall and stairwell of his mansion in order to enjoy the echoes they produce. Priceless!

Highly enjoyable, don't miss this one.

No computer generated images, small 1:33 ratio black and white screen and yet there is nothing in the world that comes close to the intimacy of this experience. Just look at Gary Cooper listening, trying to understand. Look at Jean Arthur falling in love. We have lost something very important along the way and it's not just innocence. How is it possible that nobody can get anywhere near this simple magic trick? They used to call Capra films "Capracorn" I wonder what they call Adam Sandler, Freddy Prinze Jr, and Jennifer Love Hewit comedies today? I want to jump into a time machine and go to those days, the days of Mr Deeds, Gary Cooper, Jean Arthur and Frank Capra.

Mr. Deeds Goes to Town is a pretty standard Frank Capra film. It's a simple story with likeable characters and an obvious moral of the story. Gary Cooper does a swell job of portraying Longfellow Deeds and Jean Arthur is absolutely charming. This is definitely more serious than the 2002 remake, but it's a well-made movie with plenty of heart.

Frank Capra (Oscar-winning for directing) created one of the earlier Hollywood masterpieces with "Mr. Deeds Goes to Town". The film follows a good-hearted small-town Vermont man (Oscar-nominee Gary Cooper) who inherits a fortune from a relative he never knew. Now he must go to New York and take over his late uncle's estate, but he must also contend with a whole host of opportunistic bigwigs who want to take advantage of Cooper's kindness. Cooper is not as slow-witted as he appears though as he seems to outsmart all those around him. When reporter Jean Arthur comes along, Cooper falls hard for her and lets his guard down and forgetting himself, he may lose a part of himself that is priceless. Frank Capra dominated the 1930s and 1940s with life-affirming productions that were just simple human stories that would always strike emotional nerves for the audience. "Mr. Deeds Goes to Town" is no exception. The remake should cause many to check this one out. This one stands up much higher than Adam Sandler's under-achiever. 5 stars out of 5.

What a shame that this wonderful, charming, funny movie had to be remade back in 2002 starring Adam Sandler for now whenever the title Mr. Deeds is mentioned, the majority of people will recall that train wreck instead of this timeless story. What director Frank Capra is able to do here is create a tale of little city versus big city but also in dealing with corruption and helping out your fellow man.

These are themes common to nearly all Capra films and here Gary Cooper is able to transcend the idea of a major Hollywood star playing a down to earth, small-town idealist nice and considerate to all he meets unless they get deep under his skin. To those who reside in the giant city of New York, a bewildered man like this Longfellow Deeds would certainly stick out. And it is for this reason that a hotshot reporter would attempt to use him as a basis for an exclusive story and solely for her own benefit. This other theme of the dark side of media use is another Capra feels strongly about and it shines through especially in the final courtroom scenes when all is revealed and the true colors of all characters are established.

Gary Cooper is one of the most under-appreciated leading men in Hollywood history, perhaps because he didn't show the archetype leading man quality other big stars of his time did. He was always in his movies a good old boy, filled with love for his roots and the people he associated with that. He did it here and in Sergeant York, the result being two of his best performances in a long and storied career. Capra favorite Jean Arthur doesn't do or say much- until the epilogue when her character is needed most. And in this sequence, Arthur shows her complete variety of ability to cover both comedic and dramatic areas. Certainly a film to go back to again and again, this shows Capra's ability to carefully touch on very serious subjects with a deft comic touch as well as the great chemistry between Cooper and Arthur. So, if someone mentions Mr. Deeds to you, look for the older one and not the newer "modern" version.