Arriva John Doe!

Surprisingly topical considerig the age of the film. But then, the problems caused by the manipulation of public opinion have never been more pressing than today, in the age of social media and populist government. Unfortunately the film is let down by its sentimental ending.

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!

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.

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.

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.