O Último Hurra

Tracy plays Irish-American Frank Skeffington, an old hand re-seeking political office for one last time, with dreams of helping the slums along, and, along with his cronies, leading the victory parade on St Patrick's Day. Will he make it? 'The Last Hurrah' is a tour-de-force, with John Ford's sharp direction, and several old timers making an appearance, such as Basil Rathbone as one of Tracy's more vehement opponents. Tracy of course is as excellent as ever, and there are some nice scenes between him and Jeffrey Hunter (playing his nephew).

Whether showcasing the camaraderie between Skeffington and his supporters, or giving the viewer a masterclass in acting, 'The Last Hurrah' cannot really be faulted. Even if the last half-hour of the film is a bit cloying, Tracy's last line is on target and raises a smile as the end card comes up.

Incidentally, this film was made in 1958, a time when black and white films mixed with those in colour to no-one's detriment. It would be interesting to see if a similar subject would come across as well today, in colour. It makes one long for the return of black and white for some genres.

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.

I was 10 years out of a college in the Boston area when this movie came out, and we remembered Mayor Curley of Boston, a brilliant orator, a charming Irish rogue whom everyone - or almost everyone - found fascinating, even when he was in prison. This story, reduced to specific wonderful vignettes of Mayor "Skeffington's" last election and defeat is admirably played by a group of great character actors of the time. Many faces are hauntingly familiar. Tracy, already old, is superb. I consider this one of his greatest and most convincing roles. Slightly dated now, in black and white without the technical tricks we accept in our time, the plain story is sufficient to hold our attention, make us laugh and make us cry. Watching it now, we feel nostalgia for a simpler time, but realize that some things taking place in politics haven't changed that much. Cheers for Spencer Tracy. Cast your vote for "Skeffington" even though the name is not Irish, and "Irish"is the story.

"The Last Hurrah" is about the end of a political career and also the end of an era in American local government. I first saw the film when I was ready to launch a career in public administration, and I didn't like the sympathy Spencer Tracy gave the role of big city boss. Over the subsequent years, I have enjoyed the film more each time. Now, I thoroughly enjoy and am amused by the way Frank Skeffington manipulates the powerful to champion the underdog.

The film is more drama and comedy than history. Yet, men like James Michael Curley, Richard J. Daley, and David L. Lawrence combined ambition for power with a desire to achieve municipal progress as they saw it. They used their understanding of human nature and the ignorance of the body politic effectively. Skeffington shows how. Today, their successors use other methods for similar purpose.