L'ultimo urrà

This movie was based on the novel of the same name by Edwin O'Connor, which in turn was inspired by the career of the colorful 4-time Mayor of Boston (and sometime Governor of Massachusetts and U. S. Congressman) James Michael Curley. Curley, although remembered today as a lovable rogue and a flamboyant old-time politician who made the voice of Boston's despised Irish heard in the halls of power, basically ran Boston into the ground during his tenure as mayor, destroying the city's credit rating, and dividing its people by appealing to old-time Irish-American fears and prejudices.

But, as far as this movie is concerned, that's neither here nor there. Spencer Tracy is outstanding as the mayor (in my opinion, only James Stewart was a better actor among the leading men of the Hollywood studio era) and the supporting players are superb, notably Pat O'Brien, Donald Crisp, Basil Rathbone, John Carradine, Jane Darwell and especially O.Z. Whitehead, who is brilliantly cast in a small role as the featherbrained son of a crusty Yankee banker. Also noteworthy are the usual patriotic and sentimental touches of director-producer John Ford.

What ever your political opinions may be, this is an outstanding look at old-time politics as it begins to give way to the era of mass media.

Last Hurrah, The (1958)

** 1/2 (out of 4)

Spencer Tracy plays a Mayor who is running for office for perhaps the last time and he invites his nephew (Jeffrey Hunter) along to see how a campaign is run. I must admit that I was pretty letdown with this film considering the talent involved. When you have Ford directing actors such as Tracy and Hunter then I expected a lot more than what was actually delivered. The supporting cast contains brilliant actors such as John Carradine, Basil Rathbone, Dianne Foster, Pat O'Brien, Wallace Ford, Donald Crisp, Ricardo Cortez and Frank McHugh. There are signs a greatness throughout this film but they're often followed up with overly talky scenes that just drag on for no reason at all. Ford is trying to make all sorts of points about the political game but when he speaks these points he just keeps on and on. There's a scene inside a funeral that has political motivations behind it and this scene is the perfect example of a message being beaten to death and dragged down into boredom. There are several great sequences including one where Tracy blackmails Rathbone into doing some good for the city and there's another great scene when Tracy busts in on some bank managers who are using race to work against him. Tracy is good in his role but I don't think this is among his best performances. Hunter delivers a nice performance as well but I found his role to be rather underwritten. I think Carradine steals the film as the racist newspaper editor who holds a grudge against Tracy. All in all, this is an interesting movie but I don't think it takes off the way it should have and considering the talent involved, the movie should have been much better.

I'd been looking forward to this for a long time. I'm a fan of John Ford and he's given me some of my favorite films.

I'll have to confess that "The Last Hurrah" disappointed me in many ways. The acting, particularly Spenser Tracy's was wonderful throughout. Ford's stable of stalwarts made the film glisten with their bit roles and backup. It was Tracy's film, though, and he's a virtuoso whichever way you view it.

It's very much a black and white film - and I'm not referring to the color. There are the could guys and then the bad guys, with absolutely no subtlety at all. The good guys were the Irish who made it up the ladder through honest (?) hard work while the bad guys had English accents and inherited their wealth. Just think Basil Rathbone or John Carradine and you get the picture.

The rival candidate to Tracy is an undisguised idiot with a hilarious but ridiculous "interview" on television including a barking dog and a wife who can't read. These are very, very broad lines.

I can't help thinking about Frank Capra's descriptions of the other side, the "baddies" in such films as "Mr. Deeds" or "It's a Wonderful Life" There is absolutely no subtlety whatsoever. These people were educated and reared in wealthy families and should be punished. This is a very rural and dangerous flaw in the American personality that found its way in this film. But this time, they have English ACCENTS. John Ford has never been at ease with the English people in general. Sometimes, it borders on intense dislike or even hatred, and it's everywhere to be seen in this film.

The protracted death-bed scene was so over-done and over-long it was embarrassing to watch. Just a-tuggin' at the old heartstrings. Cardiac arrest might be a more appropriate term. Ford didn't know when to stop. It's as plain and simple as that.

Curtis Stotlar

John Ford's version of the book, THE LAST HURRAH, is a behind the scenes look at one last election campaign for an aging mayor (Skeffington) of a town whose name is never mentioned in the film. In many ways, the film is a bit cynical as it showed the way that politicians wheel and deal and manipulate--but in this case, always for a good cause. While Skeffington is definitely not above using these questionable tactics, at the same time, he is shown as fundamentally decent and very, very sentimental--with a true love for his constituents. This is a very difficult balancing act for the film--combining gritty realism with sentimentality, but it manages to do so.

In many ways, this is highly reminiscent of the real life Ford, as he was by many accounts a highly manipulative son of a,.....well, you know what I was going to say. Yet, at the same time, sentimentality abounds in his films like no other film maker. You can see it here in his liberal use of old and almost forgotten supporting stars--such as Eddie Brophy, Frank McHugh and Jane Darwell.

Overall, the film is very interesting and manipulative (in a good way), as you find yourself pulling for Skeffington and feeling his pain as well--even though he is a fictional character AND a politician! The film is well worth seeing and the film is extremely well-acted and directed.

John Ford certainly does capture the spirit of how James Michael Curley would like to have been remembered. It's how he wrote his memoirs and how Edwin O'Connor wrote that brilliant piece of fiction.

Curley was a demagogue par excellence. He played ethnic politics to the hilt. He served one term as governor of Massachusetts and that term was noted for an outrageous scandal in which pardons were sold to prisoners who could cough up the money. And he was always the victim of those nasty Yankee patriarchs.

Spencer Tracy does a great job in cleaning up the Curley image and the rest of the cast is fine. I would like to call attention to two actors who typified the cultural divide that James Michael Curley never attempted to bridge in his lifetime, unlike in this film.

Willis Bouchey playing Roger Sugrue, disparagingly referred to as the Papal Knight, is this rabidly bigoted Roman Catholic who is forever finding fault with the rest of humanity and criticizing those of his fellow Catholics who are not as good as he. He nearly has a stroke after seeing a Monsignor played by Ken Curtis on TV playing golf with a rabbi. No wonder Donald Crisp playing the Cardinal refers to him as "that horrible man, Roger Sugrue."

And the other side of the coin is John Carradine playing Amos Force the descendant of old line Puritans who is as bigoted in his way as Roger Sugrue is in his. It's alluded to that back in the 1920s Carradine was in the Ku Klux Klan and you can believe it from Carradine's portrayal.

Bouchey and Carradine are the two best in a cast that is saturated with John Ford favorites. As a lesson in respect for diversity, The Last Hurrah has a lot to say. History it's not though.