My Son John

Apparently, (from the other reviews) if you haven't seen the movie and you are a Communist apologist, you hate the movie, the actors, the script. Too bad for you.

McCarthyism is not the opposite of communism. McCarthy was wrong, but the Red threat was real. There were, and probably still are, communist agents actively working in America. It's history. Go look it up and stop crying.

This is a story of a mother whose heart is breaking because her son is a communist. We don't know much about him, but we know he is a communist. The story isn't about him. It's about the mother and her anguish.

Personally, I started to watch it because of the commie angle. There isn't much. I continued to watch it because of Hayes. I don't watch chick flicks, but my lord, she pulls at your heart strings.

Overall, I found it mildly interesting. The actors are terrific. The story was almost non-existent, despite the pinko protests of bashing the commies. Poor, poor commies.

There is a guy named John who is being followed. His mama notices. She finds out he is a commie. She cries. John is torn between mama and his goal of destroying America. She cries. John searches his soul. She cries. John is torn: How can I do my commie stuff if mama is always crying. Oh, the horror, the pathos.

One more time, kiddies: McCarthyism was wrong. Communism was a real threat. Kruschev wanted to nuke us. George Bernard Shaw thought it was right for the "state" to put to death anyone who did not contribute enough. Mao killed 70 million. Stalin killed 40 million. Add in Italy, the Balkans, Hungary, Poland, Austria, Vietnam, Laos, etc., etc., etc. Communists killed more people than Hitler. They killed before Hitler and after him. Even when Hitler was actively killing people, the communists were killing at a rate three times faster. Just counting the Jews, Russia killed more of them during World War II than Hitler.

This won't be a movie that I watch again. There's no action. The commies just talk. They had enough raincoats, but they didn't fill them with people like Bogart. He would have shot all of those dirty commies. He might even have slapped mama for crying so much.

This movie is known as a "propaganda" film because it has a point of view that the US Govt. approved of. If you choose to believe that Hollywood deliberately put out movies to support our government, you are free to do so. But if you have a brain in your head, I'm sure you realize that Hollywood puts out movies solely to make money. They thought that this movie would sell. The commie threat was big in the news. It was everywhere. They used it for their gain.

Nowadays, the communist threat is not as virulent, and the pinkos are more amusing than annoying. I just hope that they do not start apologizing for bin Laden and the other idiots who now attack America.

Keep your Papa Joe nightlight. Keep your Che t-shirt. Keep reading your little red book from the Chairman. You can deny history as much as you want. As for me, I'm sticking with Thomas Paine, George Washington, Thomas Jefferson and Captain America.

Made in 1952 at the height of the McCarthy era Red Scare when studio chiefs were scurrying to prove their patriotism and disavow rumors of Communist infiltrators in their midst while members of the Senate's House Un-American Affairs Committee (HUAC) were clamoring for their heads, this unintentionally hilarious howler rivals "Reefer Madness" and "The Green Berets" in its sanctimonious dissemination of moralistic disinformation.

Robert Walker plays "My Son John" Jefferson, whom you recognize immediately as an insidious Commie agent because he creeps like a rat through the shadows wearing a long overcoat with the collar turned up and a broad-brimmed hat pulled down over his eyes, passing secret papers to similarly dressed fifth columnists at night behind Washington monuments.

But John is more than stealthful and insidious: he is sarcastic to his priest (Frank McHugh) and disrespectful to his long-suffering mother (Helen Hayes), which motivates his father (Dean Jagger) to beat him over the head with the family Bible as John kneels at his feet. (Dr. Freud, please put down your note pad). When the family physician (Minor Watson) explains that research scientists are guided by Divine Inspiration while searching for cures to diseases and John sneers, "I see - He hides things and then He helps us find them!" one wonders exactly to whom (or against whom) this propaganda is directed.

"If you don't like your Uncle Sammy," thunders Dean Jagger, former Doughboy, thumping his chest and marching around the living room, "Go back to your home o'er the sea!" - an obvious warning to any fellow traveling pinkos sitting in the audience (or hiding behind studio typewriters), wearing long overcoats with their collars turned up and broad-brimmed hats pulled down low over their eyes.

We don't watch movies to seek out their faults and laugh at their foibles: we want to enjoy them. Suspension of disbelief and a generous tolerance allows us to accept most films of the 30's, 40's and 50's at face value; as we would overlook the primitive special effects of those decades compared to those of our own; as we ignore the fact that clouds don't move on sound stages and the spokes of wagon wheels always seem to be revolving backwards. But it's difficult, if not impossible, to take this silly, pedantic film seriously. Obviously the director and the actors responsible for its production did not, or they would have used their talents (which are formidable) to make a better picture.

When you tire of scoffing, you will lament the waste of talent: Helen Hayes was the First Lady of the American Theater; Robert Walker was one of the finest up and coming young actors of his generation, equally gifted in both drama and comedy; Dean Jagger, Frank McHugh, and Minor Watson were top notch supporting players for over 40 years, from the early talkies well into their old age; and the legendary Leo McCarey, whose long list of screen credits includes "Duck Soup" with the Marx Brothers, and "Going My Way" with Bing Crosby, for which he won the Best Director Oscar in 1945, was also the genius who introduced Mr. Laurel to Mr. Hardy.

This film is not available on either VHS or DVD and to my knowledge is never, shown on TV. It's been years, indeed, decades, since I last saw it. One question, that the film makes no attempt to answer, continues to linger: what was there about John's God-fearing, patriotic upbringing by his overbearing but obviously loving parents that made him join that Communist Party which was so committed to the violent overthrow of American middle-class society and values?

In the beginning we see all of the Jeffersons -sans the titular John - going to church in their small town, getting ready to send their two sons off to Korea. These are the good sons, the literally blue eyed blonde haired sons in their uniforms going off to war, with the church symbolically behind them as the priest is the one to drive them off to join up with their regiments. Hey. Have I just wandered into a Nazi propaganda film, because so far it sure seems like it! Didn't Sam Goldwyn make "The North Star" just nine years before telling us how great and friendly those Russians were? And that Stalin, he was just a big lovable father figure...in 1943 that is.

John is given a big build up before he even physically enters the scene. He is a big intellect. His brothers were the football players, he was the student. Dad is suspicious of John and thinks he looks down on them. Mom is still seeing him as a little boy, and sometimes it gets downright creepy. You almost feel like if John died and she lived we'd have the reverse of Hitchcock's "Psycho" playing out as John would be the stuffed one sitting in a rocker. John is also treated as some sort of supernatural threat that only mother love and the Catholic church can defeat. The truth unfolds as though the son has been found out to be a vampire, one of the walking dead. Rosaries and crosses and talk of God thus repel him.

There also seemed to be quite a bit of Bruno ("Strangers on a Train") in John Jefferson, especially with cigarette in hand, conversing with dear old Mom: Oh you know how father is, etc. He just preferred a gray flannel suit to a silk dressing gown, and communism to homosexuality. Besides the dark shadow of Marxism-Leninism hovering over the Jefferson household, there is the dark shadow of mom's menopause. Mother Jefferson does seem very subject to mood swings, even before she starts to suspect John's secret. That's why the doctor gave her those three times a day pills. I think Helen Hayes played this role very well, with just the right tone of confused mother love, and a little bit of pixilation. But maybe it would have been better if her two All-American sons had actually sent her back an opium pipe from their government-sponsored trip to Korea rather than a kimono, and the necessary contents to fill it. Mom could have mellowed out a bit. Who sends their mom a kimono anyways?

Leaving aside the Communist element, this film is similar to ones like All My Sons and others of the deep, dark, family secret genre. Usually it's the old man who is hiding something from his cheerily normal family. This time it's the son who has the secret. That sets up all those claustrophobic, dark, gloomy scenes between the three in their somewhat spooky house. And while it's overlong and overwrought, that's the saving grace of this film. There's a certain pedestrian reality to this aspect of the movie that's separate from all the Red Scare guff. I was hoping John would come through with a few more anti-clerical shafts at the expense of the priest, but you can't have everything.

If you want to see a similar film from the same era, see John Wayne's "Big Jim McLain". That one has a lot more action, Wayne style, but still makes the same basic claim. Loyal all-American guys and gals are physically attractive and good at sports and genuinely well liked. The ones that are likely to be seduced by Communism lack athletic ability and may be overly intellectual, making them prime targets for being philosophically enslaved by their Soviet masters. However, in trying to fight the Soviet menace, the authorities use tactics similar to those they say that they are fighting, such as faking a car accident, impersonating Joe average, and then smooth talking their way into the home of the unknowing parents so they can get them talking and maybe get some clues, which FBI agent Van Heflin does. Yet somehow, being Heflin after all, he manages to remain charming throughout.

This had to have been an A-list production for Paramount, because of the very talented cast. You have Academy award winning Helen Hayes and Van Heflin, Dean Jagger as John's father playing it a bit over the top, and finally Frank McHugh in a more serious role than I was accustomed to seeing him in, but still with a touch of that comic wit he displayed over at Warner Brothers in the 30'sand 40's. I'd recommend it because the mass hysteria of the red scares may be 65 years in the past, but this film gives us a good record of how it affected the film industry. I'm giving a 6/10 more for historical value and being a snapshot in time.

This was on Turner Classic Movies about six years ago, just once. Other than buying the rather pricey DVD, the only other way I know to see it is Amazon Prime, where it is free per view, which is how I saw it today.

I have been watching movies for 35 years and follow listings, VHS and DVD releases, and this is one I have YET to come across. Does anyone know WHY it isn't available in some form or the other? Is it lost? Does it need restoration? The content, while out of date, nevertheless, isn't the main issue. It's that this film needs to be seen. What good are films, such as this one, "Porgy and Bess," "The Constant Nymph," etc tied up in estates for no one to see and pass opinions on? I wish there were a website of "unavailable films" where one could reference why certain ones are never heard from. Cable channels too many times show the same films over and over again but never ones that need to be seen.

Somewhat paranoiac drama looking at the perceived communist threat in the 40s and 50s. Overwrought in both direction and performance-Helen Hayes in particular seems on the very verge throughout the film. Walker died suddenly during the making of the film and his performance was completed by cobbling together outtakes from Strangers on a Train and the use of a stand-in in some scenes, its easy to pick out most of the these and it cast an odd melancholy pall over the picture. More of an interesting artifact of a troubled time in US history than a good example of film making. McCarey could be an exceptional director who made many fine films and possessed a few Oscars but he is decidedly off his game here. A strange experience.