Arriva John Doe!

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.

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.

This classic movie written by Robert Riskin (Capra's usual) concerns about a fired journalist named Ann Mitchell (excellent Barbara Stanwyck , though first choice for the role was Anne Sheridan). She thinks up an original idea and prints a false letter from an unemployed , a down-and-out John Doe who threatens to commit suicide . The editor (James Gleason) hires John Willoughby (Gary Cooper in the title role playing with natural sincerity , as usual) to embodiment Doe. Willoughby is usually accompanied by his skeptical friend (Walter Brennan who steals the show) . John Doe protests against corrupts politicians , against the shutting doors at hospitals for needy and complains about abundant injustice . Doe founds 'John Doe clubs' along the cities and Democratic and Republic headquarters are worried because everybody join to John Doe . John starts a political movement but the publisher Norton (Edward Arnold) has a secret scheme. Doe eventually realizes who he's being used and takes on corruption and win , not without coming heart-rendingly close to failure.

An enjoyable Frank Capra film that displays drama , a love story and biting social critical ; however , being a bit slow in part for overlong dialogs and speeches . Capra's touches of sensibility and intelligence in presenting characters had his spectators sharing triumphs and flops . Frank Capra was an expert in manipulating their emotions such as proved in his films of the 1930s and 1940s , as he influenced the lives and beliefs of people of the nation with movies as 'Mr Deeds goes to town' , 'You can't take it with you' , 'It's wonderful life' and 'Meet John Doe' . The film packs a good score by Dimitri Tiomkin and nice cinematography by George Barnes , though available in a horrible colorized versión . The motion picture was well realized with realism and cleverness and wonderfully well acted at the same time. Rating : Better than average , the movie will appeal to cinema classics lovers

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.