A Mulher Faz o Homem

Frank Capra and James Stewart were nearly unsurpassed at the task of taking the kind of story that is optimistic but that borders on being trite, and making it into a satisfying, worthwhile movie. In "Mr. Smith Goes To Washington", they accomplish this with a little help from Jean Arthur, Claude Rains, and Edward Arnold. It's not quite on the level of "It's a Wonderful Life", but it is as good as almost anything else of its kind.

Stewart's performance is important right from the beginning - hardly anyone else could have been believable as the earnest unknown who suddenly becomes an important political figure. Even his wide-eyed appreciation for what he sees in Washington comes across believably. As the story gets more complicated and his character is developed further, Stewart is even better.

The secondary characters are also important, because the story itself is a rather stylized, though still worthwhile, statement about politics. The characters are more believable than are many of the plot developments. Rains contributes a lot as Stewart's troubled colleague, and Jean Arthur is a natural for this kind of role. Arnold plays his devious character well. Capra holds it all together with his craftsmanship, keeping the story on track and getting the most out of the situation.

Since the beginning of the art form, movies have generally fallen into two categories: the realistic, and the fantastic (fantasy-based). There are some that point out that the films of Frank Capra unduly fall into the latter, that they are completely far-fetched and fastened in their own time, and even invented a pejorative term "Capra-esque" to describe any non-cynical, heartwarming picture that has a message. His great films, like It Happened One Night, It's a Wonderful Life, and of course, Mr. Smith Goes to Washington, however, are not fixed in a single era, but all eras, the truest definition of a classic. And considering it was released among true powerhouses in 1939, a year as important to movies as 1998 was to baseball, its ideals, story, and general excellence shine as bright today as it did over 60 years ago.

A Senator from an unnamed, middle America state dies and a new one must be appointed by Governor Hubert Hopper, a puppet whose strings are held by newspaper magnate Jim Taylor. They need to find one that would be easily controlled by the now-senior Senator Joseph Paine (played brilliantly by Claude Rains), so a bill allowing a building of a dam near land by the Willett Creek owned by Taylor can pass in the Senate. After his initial choice is rejected by Taylor, and Taylor's handpicked man is shot down by the public, the governor chooses Jefferson Smith, played to perfection by James Stewart, a boy scout leader and local hero who is both wholly idealistic in his patriotism for America but naive and blind to the actual process. After he gets embarrassed by the local print media, Mr. Smith begins to learn the harsh realities of DC. Paine, Smith's boyhood hero, takes him under his wing and suggests that Smith try to create a bill. Smith agrees, and with his assistant, Clarissa Saunders (played by Jean Arthur), they create a bill to create a campground for boys from all over the country to learn about each other and the civic process, much to the initial dissuasion by Saunders. Smith then wants to choose a site near the Willett Creek, the same site where the dam is to be built and when his superiors and true string-pullers find that out, major complications ensue.

Although the basic premise is David vs. Goliath, the story is wholly originally and was probably one of the earliest pictures to suggest the government as corrupt. The characters are played excellently by all principal actors, with Mr. Smith you root for whole-heartedly, Mr. Taylor you root against for his sheer arrogance and greed, and Mr. Paine, who you pity as you see a man who lost his initial zest to serve the public and is now a jaded shell of his former self. A great performance was given by Harry Carey, Sr., who plays the Vice President/President of the Senate for comic relief. The lines where completely believable and the parts of Smith's final filibuster that were shown give the most impact. There is a beautifully shot scene with images of the monuments and sights of Washington with several national anthems synchronized as the score. The climax is as tension-packed as drama can get, and while the ending may seem rather sudden, and everything isn't completely or neatly resolved, it works perfectly and ends the movie on a happy note.

Obviously, few if any people elected to public office has the moral character, conviction, and general good heartedness of Jefferson Smith, and I doubt whether the government would be better if it was. The movie showed an ideal, a supposed "lost cause" of truth in government. And although it is next to impossible for Capra and the eternal good guy Jimmy Stewart to ever fully change the world of politics with just a motion picture, at least it shows that maybe once in a great while, being the good guy has its definite rewards. If (using the same analogy of the 1998 baseball season) The Wizard of Oz and Gone With the Wind were the Mark McGwire and Sammy Sosa of 1939 moviemaking, then this would be like Cal Ripken voluntarily ending his Iron Man Streak, something done with full class and the highest respect in mind, and that elevates an ideal of being the good guy and sticking to your dedication brings the greatest of riches. This picture is flawless in all respects and a true classic, with thought-provoking ideas, wit, a little bit of platonic romance, and an excellent cinematography and score, and deserves the rank as a 10 out of 10. And in giving this rating, either I'm damn right or I'm crazy.

Accomplished, honest and heartfelt, this will reinspire you to believe in the goodness of people even though the messages conveyed by those in power these days suggest anything but. James Stewart plays the innocence and naivety required for the role to perfection while you can genuinely believe that Jean Arthur has actually fallen for him for real. The great Claude Reins fills the boots of the corrupt senator with aplomb while Edward Arnold reminds us of a few of his type that are still around today. Probably the best film you'll ever see with the most mundane of titles.

James Stewart and Frank Capra. One needn't know much more going in to be assured that this will be an enjoyable film. Together they take on the Washington elite with this dramatic comedy about a naïve Washington outsider who gets appointed to the Senate and stands alone against corruption and graft. Jefferson Smith (James Stewart) is appointed from an unnamed state after one of its Senators dies. He is appointed because the political fat cats need someone who will not seem like a crony, but who will not stand in the way of a graft scheme for a pork barrel dam that will make bigwig Jim Taylor (Edward Arnold) millions. When the wide eyed Smith gets to Washington, he discovers the corrupt bill because the dam will stand in the way of his own proposed bill for a children's camp. When he tries to stop the project, Taylor's political machine frames him to make it seem like he is the one taking graft. This leads to the dramatic confrontation in the Senate, where Smith filibusters in an attempt to get the truth out.

This film is wonderful in so many ways. The story is a classic struggle between good and evil. In typical Capra style, the protagonist and antagonists are exaggerated so there is no confusion as to who are the good guys and who are the bad guys. If there is one clear message in Capra's films it is that those with strong moral fiber never give up hope. He likes to create utterly hopeless situations for characters to test their integrity, and rewards unswerving adherence to basic values and principles by triumph against the odds.

I was dismayed to see a comment, obviously from a young viewer of this film, that said that the characters weren't realistic because no one used profanity. This is a sad testimonial to our culture, when it inconceivable to young people that there was once a time when profanity was the exception and not the rule.

Stewart is brilliant as the idealistic and awe struck kid from the backwoods who is overwhelmed by the glory of Washington, with its monuments and history. The story brings us a confrontation between political expediency and idealistic principles with the message that the truly great men are the ones that don't compromise their principles to hold on to power. Stewart also brings a whole treasure chest of bumbling comedic sight gags that make him all the more lovable in the part.

Jean Arthur is fabulous as the tough and savvy assistant who is jaded by Washington politics, but gets a fresh injection of fervor as she listens to Smith's noble homespun philosophies. Claude Rains is also masterful as the adulterated Senator, who sold his soul to corruption for a chance at the presidency. He plays the simultaneous sense of guilt and ambition with a torment that is clearly ripping his heart out, and the power of both emotions portrayed in his performance makes his character both repugnant and pitiable.

This film is a national treasure. It is in my top 50 list of all time. The story of corruption in politics and the greatness of the men who resist it is timeless and would not be lost on the politicians in Washington today. A 10/10.

It's interesting how Mr. Smith Goes to Washington feels so dated and yet so relevant at the same time. This movie itself feels like Jefferson Smith, naively striding into the homes of the cynical and skeptical modern public, only to prove that it does, indeed have something important to offer. This movie still packs an emotional punch almost 80 years after it was made and it's easy to see why it's a classic.