Meet John Doe

This film offers a standing rebuke to critics who use the term "Capracorn". None of Capra's films are as blindly optimistic as is often argued, but this one is a pitch-black jeremiad against manipulation by the media. The mob scene at the "John Doe" convention is one of the powerful scenes ever filmed. Stanwyck is incredible as reporter Anne Mitchell. She is one of the great actresses of the century, and she always did her best work Capra, whose female characters are generally more compelling to the women we get in the movies of our "liberated" era. Cooper is fantastic as a truly "average" guy who is "awakened" by his experience with the John Doe movement, and Edward Arnold is absolutely terrifying in the role of Fascist D.B. Norton. This film is even more relevant today than when it was made, and I would argue that it should be viewed in high schools across the continent. Capra is asking his viewers to think critically of EVERYTHING they hear on the radio or see in papers or hear from elites, and amen to that!

There is so much to recommend this film, especially in repeat viewings. I'll try to touch on things rarely mentioned. The opening credit montage that ends with a solitary newborn in a hospital ward speaks volumes, as does the opening scene: the jackhammering of the old Bulletin cornerstone. The dream that Long John tells Ann about, in which he plays a dual role, is a warm and economic device for letting us know about what he feels for her and why she could go for her. The near-monologue of Bert, the "soda jerker," is as masterful in its sustained understatement as the small-town mayor's bumbling is hilarious. All of Capra's sound films starting with "American Madness" employ an effective, trademark montage, but "Meet John Doe" overflows with three. The Colonel's joyous Three Little Pigs dance inside the freight car to the rhythm of the rails is joyous. The Jesus metaphor throughout becomes heavyhanded at the very end but is saved by the dead-on final line about "the people." Finally, the movie succeeds not just because of its attributes that can carry over to other forms of art such as books or plays, but also because it is a uniquely cinematic experience.

Frank Capra's unabashed patriotism wins another pennant for Team U.S.A. with `Meet John Doe,' an Oscar-nominated feature (for original screenplay) that roots for the underdog while demonstrating the power of the people en masse. He backs up his strong, daunting ideology with sharp, crisp writing and even sharper character delineation. Capra's social piece was timely released in 1940, when Nazi sympathizers were gaining a potent voice in America, just prior to our involvement in WWII.

Struggling columnist Ann Mitchell (the incomparable Barbara Stanwyck) is one of many about to receive their walking papers as the latest casualties of a newspaper takeover. Learning that her dismissal is in part due to a writing style that lacks bite, she vents her anger on her last assignment, fabricating and printing a somber, biting `John Doe' letter. `Written' by a despairing, unemployed man, who, tired of life's indignities, has given up on an indifferent, capitalistic society, the writer vows to throw himself off the top of City Hall on Christmas Eve.

Ann's last column sparks a major outpouring of varying concern, not only from top government officials, but from newspaper competitors who claims the piece is a work of fiction designed to promote sales subscriptions, and from the public who are genuinely moved by this man's plight. Caught between a rock and a hard place, the new editor-in-chief (James Gleason, in a marvelous turn) reluctantly keeps Ann on the payroll (with a bonus) while deciding to run with the story. Auditioning indigent men to lend a face to their `John Doe,' they find their man in 'Long John' Willoughby (played to perfection by Gary Cooper), an ex-baseball player who has fallen on hard times. Willoughby becomes an instant celebrity and an identifiable symbol of integrity and humanity. `John Doe' clubs soon start sprouting up all over the place promoting `good neighbor' policies. Trouble brews, however, when a ruthless financier (played with typical malice by Edward Arnold) agrees to sponsor `John Doe' appearances for radio and the lecture circuit, then threatens the movement by using it for his own political aspirations.

Cooper and Stanwyck are ideal in their top roles. Stanwyck is peerless when it comes to playing smart, gutsy gals. Here, she shows all sorts of vibrant colors as an assertive reporter trying desperately to climb up the newspaper ladder without getting her hands too dirty, trapped on both sides of the fence and playing both sides superbly. Coop too is deeply affecting, the epitome of the `aw shucks' kind of 'everyman' who manages to find a stirring, articulate voice underneath all that awkwardness and reticence. Nobody plays this kind of role better.

It helps too that the leads are surrounded by all-star character pros. James Gleason is marvelous as the frustrated editor who must wrestle with his conscience as the hoax he orchestrated gets seriously out of hand. He has one exquisitely tipsy scene in a bar with Coop where he lays all the cards out on the table. Regis Toomey, as a prime spokesperson for the "John Doe" movement, has a touching moment as he expresses the impact the club has made on his community. Edward Arnold is exemplary as the manipulating moneybags, and Walter Brennan's straightforward Colonel is insightful as Coop's obstinate buddy who sees his friend falling into the same opportunistic trappings he is supposedly rebelling against. The one veteran, scene-stealing player not up to snuff is Spring Byington, who is stuck on the bench in a rather benign, devoted mom role.

The only foul ball I found in this fast-paced, smooth-running story takes place atop the City Hall with an overly hysterical Stanwyck punching home Capra's idealism ad nauseum. It could have been more effective with a still strong but subtler set-up and approach. So, hey, it's not quite a shutout, but why quibble when the rest of the film is way ahead of the game.

Like the equally dark `It's a Wonderful Life,' Capra's genius is that he knows how to pitch and score the important points when necessary, not only with laughter and tears, but with unyielding hope and, most significantly, with words. It's more than any home crowd can ask for.

There's an Italianate "cinema verite" in Capra's work, perhaps genetic . . . I find this film so powerful, and its characters so sympathetic, that I can hardly watch the riot scene. It's almost too terrifying.

Cooper's performance at first seems wooden, but he's an actor whom you need to watch, like a pond, to see the emotions swimming beneath the surface. Barbara Stanwyck is one of my favorite actresses--she never makes a false move and is beautiful to watch from any angle.

I find some lines of dialogue chilling in this age of Patriot Acts I and II and corporate globalism/global corporatism: "The American people need an iron hand," declares D. B. Norton, whose sneer looks like Cheney's.

This film is a classic example of a movie working effortlessly on a range of different layers. Capra weaves his well-loved everyman through a tale of both simplicity and political intrigue, taking in the American depression and Biblical references along the way, and comes up with messages that remain startlingly relevant today, over six decades after this movie's release.

Gary Cooper delivers a masterful performance, and in keeping with the film, achieves this with a deceptively easy touch. He is supported by a peerless cast which includes Barbara Stanwyck and Walter Brennan, both on top form.

Perhaps most impressive is the illustration of Capra's democratic ideal by including the views of the audience throughout the story. You can find all your views being voiced by different characters at various points in the tale, opening the question of just who is the average everyman that Capra is seeking to show? - and how do they relate to you?

This movie is ten stars all over. Even for keen Capra fans, the expectation is surpassed by the final delivery. Thoroughly recommended.