El farsante

The skeptical reviewers miss the point. In fact, they take the position of Lizzie herself before she begins to believe in herself.

That some of this movie appears hokey, over-the-top and unbelievable is perfect. It requires the same leap of faith for the movie viewer as the characters must take in the story.

The script for this movie is brilliantly written and as timely today as it ever was. The casting and acting are wonderful.

This movie makes a very valuable point: It's not a con when you help someone believe in herself. You do something wonderful when you help another find hope, faith and love.

Although the screen adaptation of "The Rainmaker" remains firmly stage bound, once the film's fine cast involves viewers with the characters' complex emotions, the obviously fake sets are rarely noticed again. The painted skies, over-lit interiors, and western back-lots would under cut the film's veracity with a lesser cast. However, the leads are sterling, and, only a short time into the film, the small dreams of a lonely woman, who is just beyond her marrying years, engage the audience to such an extent that distractions from pedestrian direction, an often overly dramatic music score, and sound-stage exteriors will fade away.

Katharine Hepburn gives arguably one of her finest performances as Lizzie, the plain spinster who harbors a repressed yearning for marriage and a family. Despite the ploys of her brothers, well played by Lloyd Bridges and occasionally over played by Earl Holliman, Lizzie returns from a visit to a family of eligible bachelors without a beau. Although her sights had originally been set on Wendell Corey, a divorced sheriff who is disguised as a widower, he is an independent man and prefers to remain in the single state. Enter Starbuck, a flamboyant con man, played to the hilt by Burt Lancaster, who was born to inhabit such roles. Starbuck is cousin to Elmer Gantry, the Crimson Pirate, and other athletic extroverts that created Lancaster's larger-than-life screen persona, and Lancaster plays to this image in "The Rainmaker." Meanwhile, Hepburn is at the peak of her aging spinster parts, which also include such indelible women as those in "The African Queen" and "Summertime." Together, the two stars captivate viewers and lend credence to a some-times predictable story line. Actually, during a few of playwright N. Richard Nash's over-wrought scenes, the cast seems about to burst into song, which makes the play's subsequent musical adaptation, "110 in the Shade," almost inevitable.

Despite the film's flaws, patient viewers who persist beyond the first half hour will be rewarded. Although Hepburn became mannered as her later career progressed, the portrayal of Lizzie Curry does not rely on ticks and quivering chins, and the sensitive dreamer beneath the weathered woman shines through with the help of Lancaster's charismatic Starbuck. Hepburn's glowing demeanor, when faced with a cross-roads decision that she has dreamed of for years, will bring a tear to all but the toughest in the audience.

Much has been made of the fact that nearly all of the actors were too old to comfortably inhabit their roles, which I think is crap. I don't think Hepburn's character felt anything other than genuine nor did it seem as if she were playing a character younger than her years. For one, she was a pretty well-preserved 49 - but that's almost beside the point. The point, I think being, is that no matter what your age or station, dreams will infuse you with beauty and purpose, so never abandon them. Sure, there were show-boaty moments (the final scene of the Rainmaker riding off springs to mind) - but this was made in 1956, after all, and gestures tended to be a little more expansive. Context, people, context.

What's best, to live only in our dreams, only on the outside of them, or somewhere in between? N. Richard Nash has written a deceptively simple story about faith, reality, trust, and transformation in the script from his play, "The Rainmaker." Ably directed by Joseph Anthony, richly scored by Alex North, and lovingly played by Katherine Hepburn and Burt Lancaster, this is a poignant and surprisingly moving drama. While the secondary love interest between Earl Holliman and Yvonne Lime become a bit cloying and hokey at times, the main theme is beautifully enacted by two enormously gifted stars. "The Rainmaker" is an entertainment winner, while offering much substantive food-for-thought.

N. Richard Nash adapted his play for the silver screen. Directed by Joseph Anthony, this is a wonderful insight into the core of human emotion. A hard glimpse at the look of low self esteem.

Katherine Hepburn plays Lizzie Curry, a young woman that lives with her father and brothers in a dusty prairie town. She is led to believe she will become an old maid. She of course has more brains than beauty and her emotions tell her that she needs to become a "woman".

Enter Bill Starbuck, played aptly by Burt Lancaster; Starbuck is a con man constantly on the move bilking his way through life. He convinces the Curry family he can end the drought by making it rain. He ends up in the barn with Miss Lizzie. Now she feels a new world has opened up to her.

Deputy File is too shy to tell Lizzie of his interest in her; until he finds Starbuck with her and wants to arrest him for his previous bad deeds. Lizzie has to make a big decision between the side of law and order or a life chasing dreams with a wanderer.

This movie deserves to be called a classic. The deep human element and the diverse relationships within the characters makes for a very interesting movie. Scenery and language may seem at times a bit hokey; but the realism is there. Great movie.

Besides Hepburn and Lancaster, this cast was full of good acting. Wendell Corey, Lloyd Bridges and Earl Holliman turned in fine jobs. Holliman's innocence and fresh spirit was a real highlight. The always cute Yvonne Lime also has a small part.