One Foot in Heaven

For those who are cynical about the religious life, here's a movie which ought to put some of that cynicism to rest. "One Foot in Heaven" is the true story of a Methodist preacher and his family, and it rings true, not just for the humanity Frederic March brings to his role as the preacher, but for the situations and characters that many of us, regardless of creed, will easily relate to. My dad used to say, A church is its people. I think One Foot in Heaven is a perfect illustration of this truth. Though this is a story about a preacher, we aren't preached at. There's a wonderful scene, with the preacher gently urging his agnostic doctor to start coming to church. He doesn't beat him over the head with a Bible but tries a more "humanist" approach.

Someone else has compared One Foot in Heaven with It's a Wonderful Life. Another film to compare is Going My Way. In fact, One Foot in Heaven and Going My Way were released just a year apart. There are story similarities, like the building of new churches (The Bishop's Wife is another example), but it's interesting to see how religion in the community is seen respectively through Protestant and Catholic lenses.

Then, there's the final scene. In some ways it's corny, but it still moves me. It hearkens to a time when religion wasn't sectarian but seamlessly interwoven in community life, unselfconsciously and unostentatiously. It was before the battle lines between religionists and secularists were drawn, when America had a "civil" religion. Alas, a time past.

Warner Bros. 1941 "One Foot in Heaven" was an inspired film. Based on a real person, William Spence, and adapted the from the biographic book by his son, Hartzel Spence, showed a truly rare individual who gave up his own medical ambition when he heard the call to serve as a Methodist minister. Directed by Irving Rapper, and with a musical score by Max Steiner, it was a crowd pleaser that continues to capture new friends, even today.

The success of the film lies on the fantastic portrayal of William Spence by Fredric March, who was at the height of his career. The character of Mr. Spence comes across as a no-nonsense man who must deal with the narrow mindedness of the small Iowa community he is sent to. Coming with his young wife, Mr. Spence was not prepared for what he would find in Laketon. The beautiful Hope, who came from another world feels inadequate in dealing with the church ladies who come to help her.

Mr. Spence gave his life to the town that didn't want any changes in their lives. When he proposed a new church to replace the older one, he meets the resistance of the elder moneyed classes. When they turn against him, they use every tactic, including slander to get him to his knees, but fortunately, he knew better. At the end, he was successful in giving the town what he envisioned was his contribution to the community where he spent his life.

Mr. March's performance is key that brings the action together. Lovely Martha Scott plays Hope Spence with dignity. The amazing supporting cast is wonderful. Gene Lockhart, Beulah Bondi, Moroni Olsen, and Grant Mitchell, among others do excellent job, something that was a hallmark of the Warner films of the time.

Of course, it's impossible to tell how much of this story is dramatized and how much is real. And the gothic ideals of what a "church" should be are now very period--as they should be. But what makes this film work is the human nature presented through the characters. I say this because, as a (United) Methodist pastor, I know and have known the very types of characters represented in this film. And as one who sometimes wonders whether I'm fulfilling the mandate of my calling, this film was a welcome and refreshing reminder of maintaining my focus. It is probably a good insight for church members who want to get a glimpse of what life is truly like for a clergy person, then as now (though my parsonage is countless times better than what poor Dr. Spence had to live with!). A recommended dose of reality for the clergy-weary and the clergy-wary alike!

"One Foot in Heaven" is quite simply one of the most beautiful films that I have encountered. A mainstream film of this sort would NEVER even be considered today; it seems even a bit tame for 1940.

And yet, the world was vastly different then, and the gentle,loving tone of this film reflects a sort of "old-time" morality that seems hopelessly lost today.

This was a major Warner Brothers release and, with Hal Wallis as producer, one expects and gets a very high quality film which lovingly recreates scenes from the life of an ordinary Methodist minister during the first 40 years of the 20th century. No earth-shaking events here--just the day-to-day trials and tribulations, the simple joys and heartaches, the small-town politics and frustrations that reveal humanity in all of its imperfections.

I am amazed that Frederic March is sometimes regarded as a dull actor; he was the epitome of subtle, honest realism, and he carries the narrative of this film in an amazing way, tender, gracious, humorous, a bit stodgy--but always willing to "bend" when necessary, resourceful, loving, and above all, very human.

The movie is filled with an array of Hollywood's best character actors, and the extremely detailed sets, costumes, etc really serve as a "window" to another time and place in our American past.

Max Steiner's extremely pious score is almost a bit much at times, but it nonetheless adds a reverent strength to the proceedings.

And then, there is the final scene, one of the most moving and unique in any film that I know. Once again, the ultimate destination of the plot is nothing earth-shaking---but the concept and staging of the last scene is really remarkable. A simple, old-time street on a gorgeous spring day, the townspeople who have come to know and love their minister all stopping their work and joining the procession through the street as they follow the sounds of the carillon from the new church. Martha Scott, Frankie Thomas, Gene Lockhart, Beulah Bondi, Harry Davenport, Laura Hope Crews--many of whom have locked horns with Mr. March during the course of the film, now join together in the dappled sunlit street, finally arriving at the church where they all lift their voices together in the moving hymn "The Church's One Foundation"... as we see Mr. March himself seated at the carillon, struggling to continue playing it through the tears streaming down his face....

I think Turner Classics has a print of this film (I saw and taped it off of Chicago's PBS station some years ago). Try to see it; like the world it represents, this beautiful film may also disappear forever.

In a class I was taking we were assigned to watch this movie, and then, on paper, keep track of the conflicts that were found. I couldn't stop writing. It was one conflict after another.

I have just been moved to a new church, and though my problems were no where near what the pastor in the movie had to face, I learned a lot from it and I decided to share it with others.

We showed the movie at a Sunday Night service and it was well received and I recommend showing it to your churches. It generated a lot of laughter, especially the differences from then to today, but it also made many good points that hit home. I noticed a change in their attitudes the next day.