Elmer Gantry, ni bendito ni maldito

Elmer Gantry the novel came out in 1925 and it took 35 years to get it to the screen. But it certainly was worth the wait. The movie provided Burt Lancaster, Shirley Jones, and Richard Brooks all with Oscars and it has become a classic. But we sure view it differently 80 years after the book and 55 years after the movie debuted.

Inherit the Wind and Elmer Gantry came out in the same year and both were set in the Twenties. Both dealt with fundamentalist religion and the power it held. Both films got Oscar nominated for best film and for Best Actor for it's first billed male player.

In 1960 when you saw both films they were viewed as tales of a bygone era. Evangelists like Elmer Gantry and Sister Sharon Falconer have the kind of power that thankfully we don't give the fundamentalist community now. Even seeing film clips of Billy Sunday and Aimee Semple McPherson, they seemed quaint and old fashioned. Fortunately we'd outgrown the nonsense of that era.

But Sinclair Lewis proved to be a prophet. No one could ever have dreamed in 1960 that fundamentalist Christians would have the political power they do today. What Lewis if he were alive today would do with Pat Robertson, Jerry Falwell, John Hagee and the rest of that crowd would really be something. Elmer Gantry is alive and well. Some might even call it a resurrection.

And Elmer's a part that comes once in a lifetime to a player. Liar, conman, womanizer and likable on top. You've got to be a real extrovert to play that part. So Richard Brooks got perhaps one of the biggest extroverts ever to hit Hollywood.

Burt Lancaster was born to play Gantry, in fact he'd had something of a dress rehearsal in the part in The Rainmaker. During those sermon scenes, some of which are taken from Billy Sunday's actual sermons, you know he's giving out with nonsense and you still get taken in by his charm. Note the relationship between Lancaster and agnostic reporter Arthur Kennedy. Kennedy knows he's a conman, but still they get along just great.

It was a shame that Jean Simmons was neglected by the Academy for her portrayal of Sharon Falconer. Sharon is a true believer, but she's also a romantic as the real Aimee Semple McPherson was. And the woman had needs which Elmer is only too glad to fulfill.

The real Aimee was also an outrageous character herself, but I believe a decent soul at heart. During the Depression, her tabernacle set up a soup kitchen that fed thousands. In fact Anthony Quinn, growing up in Los Angeles at the time, recalled in his memoirs working for his and his family's supper as a volunteer there. Quinn had nothing but praise for Aimee, she was the difference in whether his family ate or not on many a day.

Shirley Jones got a career salvation with her Oscar winning role as Lulu Baines, prostitute who's out for vengeance. A fine singer, she came along unfortunately when musicals were winding down. That Oscar for Best Supporting Actress insured a continuing career for her.

Arthur Kennedy as the investigative reporter is whose perspective we view the film from. He'd had five trips to the Oscar World Series without a victory, might have been nice if this one had been a sixth. His is the voice of reason, of true compassion, of truth in fact the voice of Sinclair Lewis himself.

Another of Sinclair Lewis's great characters, George F. Babbitt, makes an appearance. Edward Andrews got probably his career part as Babbitt, hypocritical businessman to the max. He was as born to play Babbitt as Lancaster was to play Gantry. He could also have been given an Oscar nomination.

Elmer Gantry is a great film, a prophetic film, proving it sure can happen here.

I just spend two days at my best friends' home for his father's funerals, and during the obligatory moments of life contemplation, we were wondering what was awaiting us all. I guess it's hard to imagine that your beloved one has faded into nothingness, so religion brings you a certain psychological comfort in knowing that there's such a thing as a soul and that, depending on a man's life, it gets the treatment it deserves. Yes, sir-ree, it might feel simplistic but at least it's fair and square.

I think this logic might explain why revivalism is so fervent in America, most of the small-town folks wouldn't fancy an alternative to an after-world where the good isn't rewarded and the evil punished, God fabricated men in its own image so it's only fair that men built a society that works in the same way than God, even if God can act in mysterious ways... let's face it, even the most sophisticated ones of us wouldn't figure out a universe where religion, as complex as it is, wouldn't be easy to "pitch", no matter how tempting agnosticism could be.

This is why promoting revivalism in the hearts of Americans isn't the most difficult thing to operate, it all comes down to telling people that they're going to burn in hell if they sin and to save their souls if they repent, people are ready to hear that if the words come from the right mouths, it's like a good cop/bad cop routine. In Richard Brooks' "Elmer Gantry", adapted from the novel of the same name by Sinclair Lewis, the good cop is Jean Simmons as Sister Sharon Falconer, a saintly revivalist who talks in sweet and delicate prose, and handles her followers and her endeavor like a businessman would do, and there's the bad cop, but one hell of a smooth-talker named Elmer Gantry.

In the original novel, he was an ordained Minister, in the film, in order to appease the Hays Code, he's an ex-Bible salesman who learned the voices of Gospel from scratch and is capable to infuse Bible passages in every monologue, with a grin that would convince the devil himself to sing Halleluiah. To call Gantry charismatic is an understatement, the casting of Burt Lancaster is perfect if only for providing him that irresistible smile, one so charming that it can get away with the scariest threats or allow an improvised line about love to become his catchphrase and play like a running gag all through the film.

What works even better in Lancaster's performance is that his intents are rarely clear and a big cloud of mystery floats around his solid shoulders. His character-establishing moment occurs when he convinces a bunch of drunkards to give charity money to old Christian ladies during a Xmas celebration. With his smile, he manages to skim money off a few piles without even asking, working like the gangster who'd get anything with a smile rather than a threat. Before, he was telling naughty jokes and after, he would have sex with Lulu Baines (Shirley Jones), a hooker who couldn't resist his words, a move that would backfire at him later. Gantry is irresistible indeed, but he's a swindler and I'd say about him what I say about Fellini's "Bidone", before you find them sympathetic, keep in mind it's part of their job.

So Gantry drifts from a place to another until he meets Sister Shara and has an epiphany. He cons her into believing he can attract the crowds with a "saved salesman" speech, Gantry brings crowds indeed and makes arrangements with Zenith church leaders, convincing her that religion must be a spectacle and must bring money in order to survive, and then we get to a second act where it's all about the spectacular improvisation of Lancaster and the professional talent of Simmons, religion turns out to be a big circus, where even the enthusiasm of the audience is part of the show. Lancaster and Jones won the Oscar but Jean Simmons was sure robbed of a nomination and even Arthur Kennedy as the no-nonense big-city reporter Lefferts had a few interesting sequences as the man of reason in the midst of that huge cacophony.

Yes, because there's a lot of noise in the film and this is why it never ceases to be entertaining, so many speeches like a "Network" of the 60s, the noise of religious frenzy, of media craving for sensationalism, of cheering and booing, of "Glory Glory Halleluiah", the film was directed the same year than "Inherit the Wind" but the handling of religion and religious figures is in such a hyperbolic way we might suffer from dizziness, especially when romantic feelings get mixed up and the film culminates with a third act where the ugliness implodes on everyone, what goes around...

This all leads to the inevitable confrontation between good ol' truth and ol' time religion... but the film (like "Inherit the Wind") tries to give the two sides a fair trial, even avoiding to make a total scam out of Gantry and keep him sympathetic even when he's truly guilty of manipulation. But isn't it all about manipulation after all? Media, businessmen, corporations, public opinion, religion, are all institutions guided by noble intentions but that couldn't keep on going without money. Some things exist because they have to... and because they need to exist must count on the shadiest ambassadors, ironically, Gantry was the most human of all, especially with his weakness for a good drink.

The film explores all the facets and allows each side to be given a fair treatment but it also shines by its punchy script, gutsy approach and an unforgettable performance by Burt Lancaster aka "The Grin", a hard-drinking fellow who embodied an aspect of religion that can echo Homer's statement about alcohol as the cause and the solution to all men's problem. Cheers!

And there was light---9/10.

All you need to know about the character of Elmer Gantry is neatly summed up in the first 10 minutes of the film. The film opens as we see Gantry holding court around a table in a bar, telling jokes and anecdotes of sexual conquests one minute, and then the next minute is helping out two wayward parishioners by passing the hat around the bar and preaching in earnest the word of God. Lancaster plays out the duality in the role of Gantry as everyman/ preacher brilliantly throughout the film. We're witness to his meteoric rise within the ranks of the religious road show, we see his stumbles within those ranks and his eventual fall from popularity to an even more impossible grace under fire (literally), but most importantly we see the ability of his character to serve both his rise and fall in ways truly unexpected.

Gantry finds that there are many who will listen to him wax eloquent on the bible. But when Gantry sees Sister Sharon Falconer (as played by Jean Simmons) he forgets about getting closer to the lord and decides to ingratiate himself into her 'inner circle'. Gantry can see that the 'old time religion show' is a soul saver on Sunday, but quite a moneymaker on Monday. There are 'two very different' Gantry's, the one who has a lifetime of sexual anecdotes and the other who's true love is for the bible. What we are not in store for is the third Gantry; the one in love with Elmer Gantry and his own voice. In any case, Gantry sees a golden opportunity to satisfy all three Gantry's and he goes for it. Through his ability to con and sweet talk his way to the top, Gantry makes all of the right friends and maneuvers himself to a spot underneath Sister Sharon Falconer.

Gantry's fall comes in the form of Lulu Baines (as played by Shirley Jones), a prostitute with a past history with Gantry. As Gantry's popularity on the 'road show' circuit starts to hit its zenith, Baines appears into Gantry's life once again as she sets up Gantry for blackmail. How Gantry deals with Baines and the loss of trust from Sister Sharon is one of the best moments from the film. And although her time on screen doesn't come close to matching that of both Lancaster and Simmons, it is the performance of Jones in one scene that practically steals the show. Jones' speech to the ladies in the brothel about Gantry "Ramming the fear of God so fast" into her was exhilaratingly fun and mildly erotic. I would think it was largely this scene that got her noticed by the Academy in 1960.

However great Lancaster is as Gantry (Oscar winning performance) and spectacular Jones is as Baines (another Oscar winner), let us not forget how easy it would have been for this movie to have THREE Oscar WINNERS!!! Yes, Jean Simmons was robbed by the Academy that year. I think there are at least three reasons as to why Jean Simmons was not given the Oscar that year. One is the brutally lame ending to the movie. Sister Sharon is left to walk about the fiery inferno of her newly built church, while everyone around her is knocking her to the ground trying to escape. Sister Sharon is oblivious to human stampedes and is more concerned in urging everyone to remain calm. A performance that must not have been lost on John Landis when he made Kevin Bacon reprise it in 'Animal House' some 18 years later (sans the fire). It was a shame to see her babbling like an idiot while certain death surrounded her. That's one reason, but the other two reasons are probably more to the truth. You see, Jean Simmons wasn't the only actress who can claim to have been robbed on Oscar night, so could Shirley Maclaine. The Oscar could have gone to either one, but if it had gone to Jean Simmons, The Academy would've had a hard time giving any award to the 'The Apartment' or its director Billy Wilder. How could 'Elmer Gantry' win three of the four main awards yet not walk away with the Best Picture? It's also been said the Academy felt bad for Elizabeth Taylor as she was not only recovering from the recent death of her husband, Michael Todd, but also that she had just needed an emergency tracheotomy only weeks before the awards. However, one point should be clear, Elizabeth Taylor never should have won the Oscar over the performances that year from Simmons or Maclaine.

Another performer from the movie who gives a great performance is Arthur Kennedy as Jim Lefferts. Lefferts is the skeptical newsman who follows the 'road show' waiting to see a miracle or perhaps to see many a false prophet fall. One scene that stands out is the scene where Lefferts is dictating an article on the exploits of Lancaster and Simmons' religious road show. While he is dictating he is also absent-mindedly sharpening a pencil. As Lefferts comments become to take on more of a cynical tone, the pencil in his hand also becomes sharper. Once Lefferts is through with his thought, the pencil has been sharpened to a fine point and his thoughts are ready for print. He writes, "Is it a church, is it a religion or is it a circus sideshow complete with freaks, magic and rabble rousing?

This is a fine film with a slightly disappointing ending. I can't accept that the errant fling of a cigarette can flash through the heavens like a message from God, but if ever a bolt of lightning was captured onto the silver screen, it was the bolt from Burt Lancaster as Elmer Gantry. 9/10.

Clark Richards

Honestly, I don't know where to begin because there were a lot of things that I loved about watching this film Elmer Gantry (1960). There were so many great elements happening all at once especially the acting. Burt Lancaster did a splendid job and was a perfect choice for the leading role of Elmer Gantry because he featured lots of honest to goodness acting. His energy, enthusiasm, and charismatic appearance made Gantry such a cool character. His acting was most definitely my favorite aspect of the movie because his performance truly brought the movie to life.

My rule for telling whether I watched a good movie or not is by seeing how often I notice the outlining of the screen that the movie is displayed on and I barely noticed it when watching Elmer Gantry because I was so into it. The director of the film, Richard Brooks, did a fine job with choosing the camera angles and transitioning. Take it from someone who loves everything about film and is trying to become a prominent film director when I say you can learn a lot from watching Mr.Brooks film. Brooks displayed professional frame balance practically throughout every scene.

Overall, after watching Citizen Kane I kinda became bored of watching old-school films but Elmer Gantry has restored my enjoyment of old- school films once again. I just began enjoying older films a lot more than what is being produced today in the film world. I thought the script for Elmer Gantry was exceptional; I loved every quote in the movie especially, "One minute you're a howling banshee,the next, you're cold potatoes." Everyone should watch Elmer Gantry because it is simply a great movie.

From the exceptionally talented pen of noted author Sinclair Lewis comes this entertaining story of a fast-talking, yarn-spinning vacuum salesman with the natural gift of persuasion. In his ever lustful sights is a voluptuous female preacher. In order to conquer her, he must use his extensive repertoire of biblical quips, quotes and bawdy antidotes. Within the sphere of a traveling troupe of bible beating, evangelicals on a religious crusade, the author's hero, one Elmer Gantry (supurbly played by Oscar wining Burt Lancaster) is as energetic as his tales. Although it's difficult to know if Gantry's spiritual motivation is genuine or merely a ploy, throughout the film, one is kept guessing. The target of his earthly desires is Beautiful Sister Sharon Falconer (Jean Simmons) a sincere, but fallible woman out to build a ministry. A serious obstacle to her goal is Gantry, but more so is the cautionary and caustic pen of Jim Lefferts (Arthur Kennedy), a Pulitzer Prize winning journalist who questions the personal and financial motives of her entourage. Her main supporter is worldly William Morgan (Dean Jagger) who believes in Falconer, and sees Gantry and Lefferts for the opportunistic impediments they are. The film is a triumph for Lancaster and Kennedy and for all those who wish to visit a confusing period of Americanna, when the word of God was infected by preachers, pushers and spiritual leeches. ****