Cidade Encantada

This picture feels like one of the Capra/Riskin classics of the thirties but made a decade later there's something not quite right. The prog-rock analogy would be when Marillion in the 80s tried to emulate Genesis of the 70s - really good but lacking authenticity.

The golden partnership of Frank Capra and Robert Riskin had broken up by now and both were pursuing solo careers. The two former friends now really disliked each other and when Riskin saw his old pal's IT'S A WONDERFUL LIFE, he was furious that Capra had made a film just like the ones he used to write himself. Consequently he made this as his reply. Although Riskin's film has exactly the same tone and mood as his earlier works he did with Capra in the thirties, he seems to try too hard to outdo Capra by making the story a little bit too far-fetched and being even more sentimental and mushy.

The films he made with Capra were incredibly sentimental but they work - they're believable and engaging. I think the passing of the decade from the thirties to the forties made this type of film too sweet for our tastes today. The thirties were a long time ago, we don't know anyone from that decade so we imagine them as a distinct species living in a Hollywood dream world where sentimentality was as natural as air and where an overwhelming sense of optimism, decency and kindness would always overcome the evils of society. OK, the forties is also a long time ago, because it's post-war those people don't seem that remote - they're virtually the same as us and don't think that differently to us. Seeing therefore that 1930s mind-set transposed to people whom we think are like us doesn't quite sit right.

Being a big 1930s movie fan, it's great although a little sad to see the stalwarts of the pre-code days - but much older. We've former leading men, Regis Toomey and Wallace Ford now in supporting roles. We have Donald Meek and the great grumpy Ned Sparks in their last roles. The presence of these 'old timers' adds some necessary nostalgia from the earlier decade. Necessary because the whole premise of this picture is to imbue the audience with a sense of how warm, cozy and innocent America was before the war. What Riskin tries to do is make another of his classic little guy fights and beats 'the man.' In this case the little guy is a whole innocent and idyllic little town and 'the man' is greed and corruption. The trouble is that it's now 1947 so stories like his didn't quite resonate with a cynical post-war audience. Just like IT'S A WONDERFUL LIFE, this film was a momentous flop at the time (although IAWL lost even more money!)

MAGIC TOWN is not a bad film, it's just a rather pale reflection of better films! Whereas those earlier picture developed tension and a sense of outrage when things looked like they were starting to go wrong for our hero, this just plods along its predestined well-trodden path. You don't develop any empathy with the characters. Maybe that's because the hero of this story isn't really James Stewart, it's vaguer than that. Is the hero meant to be the townsfolk, these "average Americans" or possibly good old American values.

You can't engage with these people. James Stewart as always is likeable but he's not loveable in this one. Jane Wyman is pleasant enough but she doesn't exhibit any real personality and you honestly couldn't care less whether or not any romance develops between her and James Stewart. Worst of all - it feels like hours and hours of the story are devoted to Mr Stewart coaching a basketball team of pretentious kids - nobody cares.... no, worse than that is actually the school song which again goes on for about an hour allowing the camera to pan over every single man, woman and dog in the whole annoying town allowing them all to do their bit of acting as tears of pride well up in their eyes and smiles of affection abound (I can't say I put my hand on my heart and look wistfully at the sky when I think of my old school but that's clearly what everyone in 1947 did!).

What's most disappointing is William Wellman, Mr Action himself. It's hard to believe that "Wild Bill" Wellman made such a slow paced (plodding through treacle) mediocre movie. But would Frank Capra have made it better? Probably not - his output in the fifties wasn't anything to be that proud about either.

Stewart's previous movie was "It's a Wonderful Life", and this one drinks from the same well.

It has a strong underlying moral about being true to yourself, and extols the virtues of honesty, pride in your small-town community. The town appears to be a microcosm of America, but it can only be that while it still has its innocence: once it tries to cash in on its status, disaster strikes.

It's a gentle, heartwarming little movie. Jimmy Stewart and the then Mrs Reagan do the romantic lead bits, and lots of people with "interesting" faces play "typical small town characters", the children manage to avoid being ridiculously cute, and it's all quite charming.

Watch out for the Senator's wife and the ancient employees of the newspaper, who are the most obviously funny characters. This may be billed as a comedy, but it's one to be amused by, and brings smiles to you face rather than guffaws and belly-laughs.

If you liked James Stewart in "It's a Wonderful Life" and "The Philadelphia Story", this one's for you.

"Magic Town" is a film about something that we nowadays take as normal but which was a novelty in 1947. It was about the new "science" of public opinion polling. This was only understood poorly and not only by the public but by those who actually mattered: the politicians who would grow to need them. In 1936 the Literary Digest, a popular magazine of the day, had conducted a poll of it's membership on who would win the Presidency. It concluded that Governor Alfred Landon of Kansas, a capable man, would beat incumbent President Franklin Roosevelt. Unfortunately the readership of the Digest were upper class, and basically Republican (as Landon was). In November 1936 FDR won one of the biggest landslides in political history, with three quarters of the popular vote and all the electoral votes except for those of Maine and Vermont. Literary Digest went out of business shortly afterwords. In the decade since Roper and Gallup had been improving polling techniques, but the full system was still uncertain. In the 1948 election there would be another polling snafu, with most of the polls awarding the election to Governor Thomas Dewey of New York, as opposed to incumbent President Harry Truman. Harry won a remarkable come-from-behind over Tom, and enjoyed showing off a headline from the Republican "Chicago Tribune" saying that Tom won.

In the midst of all this there was a classic sociology study entitled "Middletown". Set in the typical mid-American town (it was in the Midwest) the authors (a husband and wife team) showed how it's citizens opinions mirrored what mid-America believed. Ten years later the same authors published a follow up study of the town, and it turned there was little change in the opinion differentials between the town and the country.

It is with the "Middletown" study that the background of this film was based. Jimmy Stewart and his assistants (including Ned Sparks and Donald Meek - in his last role) are pollsters, and Stewart has a theory he has been working on that would save pollsters millions. He believes there is a perfect community in the middle of America that can be used for polling it's citizens. He has been studying the problem for several years, and he has found a town where the percentages of the opinions of the citizens perfectly mirror those of the American people as a whole. Stewart goes to the town and sets up there with the intention of using the citizens as his poling guinea pigs, but (as the movie progresses) he gets involved with Jane Wyman and the others in the town. When Wyman discovers Stewart's plans she reveals them, and the town goes crazy. Their sudden unofficial power goes to their heads, and instead of giving the sensible polling answers to questions they give outlandish ones. This causes the crash of their reputation, and the crisis of the film.

It is a first rate film and has some nice touches (including Gabriel Heater intoning on the radio). As an early story regarding the polling industry it is unique, and the film is well acted and directed (by William Wellman). Perhaps not a Capra movie, but it is a nice one all the same.

A year before this film came out there were major news stories about a `perfect American city,' but once the story broke… so did the illusion. People had to learn the perfect society has to be practiced individually, intentionally and daily for it to become a reality.

I just re-watched this film again today and was very entertained by James Stewart (winking and charming) and Jane Wyman (smart and sexy). Packed with the Robert Riskin type characters this story lacks the `real' message of his earlier films and there in lies it's only weakness. It's a fun trip but after we've gone in circles for a while we are reminded there is no place like home. Still this film has lots of treasures in the performances, dialogue, physical comedy and rich diversity home spun Americana characters. I recommend this to all fans of the Capra-Riskin genre.

P.S. It's also your last chance to enjoy the work of Ned Sparks & Donald Meek who both died after completing this minor masterpiece of Riskin-corn.

James Stewart stars as Rip Smith, a leading pioneer in the new sciences of public polling and demography. He discovers a small town that serves as a microcosm of the US, with the same percentages of men to women, farmers to shop-keepers, Democrats to Republicans, etc. Etc. This means that Rip and his two associates Ike (Ned Sparks) and Mr. Twiddle (Donald Meek) can survey this one town and get the same results as if they's polled the whole nation, saving companies vast amounts of time and money. However, to keep the townsfolk's answers honest, the trio of newcomers pose as insurance salesmen. Rip also falls for local gal Mary (Jane Wyman), but how will she and the others react when they learn the truth of why Rip's in town?

This was made during a time when the new advances in sociology, group psychology, and by extension Madison Avenue's advertising firms, were thought be on the pulse of the future of the nation. This kind of thinking could make for a thoughtful movie with the right script, but this isn't it. This is a traditional rom-com mixed with lukewarm social commentary and square citizenship lessons. Stewart and Wyman are both fine, as usual, and I liked seeing Ned Sparks, one of the busier character actors of the 1930's, acting wry and cynical again. This would be Sparks last film, as it would be for Harry Holman and Donald Meek, too. Director William Wellman keeps things moving quickly enough, but no one would consider this one of the better films by anyone involved.