The Power and the Glory

The story of Tom Garner opens with his grand funeral and is told through a series of elegant flashbacks narrated by his faithful lifetime friend Henry. Henry and his wife debate whether Tom was a great man and a genius or an utterly worthless scoundrel. The film is beautifully written, acted and directed, and I highly recommend it.

Tom was the fabulously rich and successful owner of a large railroad, dominating his board of directors and his competition, terrorizing his employees, slaughtering strikers. Tom's ambitious wife Sally was responsible for all of Tom's success. When he met her, he was illiterate and entirely content with his work as a trackwalker for the railroad. Sally teaches him to read and takes over his trackwalker job while Tom goes to school. He starts to rise one step at a time through the railroad hierarchy until he eventually takes over as president.

But as Tom becomes a business tycoon, his marriage to Sally gradually falls to pieces. His spoiled son despises him, and he takes up with a much younger woman (the aptly named Eve), with predictably catastrophic consequences. In his business life, Tom is a total success; in his personal life, a disastrous failure. Much like the Hearst figure in "Citizen Kane," Tom symbolizes the best and the worst of the capitalist system.

Spencer Tracy is terrific in the role of Tom Garner and the business scenes ring with authenticity. Colleen Moore is also excellent as Sally; both of them age beautifully in the multi-generational story. The film was written by Preston Sturges, but is nothing like the screwball comedies for which Sturges became famous.

A precursor to "Citizen Kane" in its analysis of the life of a just deceased tycoon, here reviewed by his faithful secretary in a series of interlocking flashbacks. In Spencer Tracy's 15th film he already looks middle-aged even in the scenes where he is meant to be young!

A little silent-screen type emoting is understandable given the vintage but this is a most enjoyable, well-written drama.

Paauline Kael--who made many claims, mostly unfounded, about the "true origins" of 'Citizen Kane'--was by no means the first to mention Sturges' script for 'The Power & the Glory' as a forerunner to Welles & Mankiewicz.

Jorge Luis Borges, in his 1941 review of 'Kane' in the periodical Sur, noticed the similarity in storytelling: "A kind of metaphysical detective story ... the investigation of a man's inner self, through the works he has wrought, the words he has spoken, the lives he has ruined. The same technique was used by Joseph Conrad in 'Chance' (1914) and in that beautiful film 'The Power & the Glory': a rhapsody of miscellaneous scenes without chronological order."

Of 'Kane' Borges also said: "In a story by Chesterton ... the hero observes that nothing is so frightening as a labyrinth with no center. This film is precisely that labyrinth." (Translation by Suzanne Jill Levine, from "An Overwhelming Film" in Borges, 'Selected Nonfictions,' Penguin 1999.) Famous remarks from a famous review, at least in the non-Anglo-Saxon world ... though Borges was critical of 'Kane' as well as complimentary.

The film begins with a funeral to the sound of "nearer my God to thee" and the soundtrack includes Gounod's "Ave Maria" as well.

This is the story of a self-made man,the American dream come true.From a track walker to a railway society tycoon,through the strikes and the strife of life ,Tom makes his way of life,abetted by wife Sally who taught him reading,writing and arithmetic when he was already a grown-up.

This is some kind of "Citizen Kane" in miniature ,relatively speaking ,a decade before Orson Welles' masterpiece happened.The story is told by Tom's good friend Henry,with wife making frequently unsympathetic comments .The movie alternates between present and past,back to childhood's days when Tom taught Henry to swim and to dive.

The story is a bit melodramatic ,mainly towards the end when the son falls in love with his stepmother and illustrates the famous sentence "you gain the world and lose your soul" ,which Tom's last word reinforces.

Henry was an educated man whereas Tom was essentially a self taught person .Tom got it made ,but in the end ,according to Sturges' screenplay,it's Henry's way which leads to true happiness.

After despised railway tycoon Spencer Tracy (as Tom Garner) dies, boyhood pal Ralph Morgan (as Henry) recounts his friend's life. As we flashback, the young lads become friends during a near-drowning incident. Growing up illiterate, Mr. Tracy meets his perfect match in schoolteacher Colleen Moore (as Sally). Alas, Tracy's life is filled with triumph and tragedy. With Ms. Moore's edging, he rises to the top but becomes corrupt. Despite denials, "The Power and the Glory" provided Orson Welles with the blueprint for a revered classic; he needn't have worried, this does not diminish "Citizen Kane" (1941) in any way. Proving films can inspire without being innately inspirational, "The Power and the Glory" has the prerequisite flawed classic qualities...

Tracy is terrific, but does not really excite; however, this is a technical concern. A former "silent movie" star taking a few years off, Moore contributes a notably adroit supporting performance. Director William K. Howard gets to work with photographer James Wong Howe and an innovative Preston Sturges story. The non-linear narrative was new to talking films, and thus disarmed contemporary viewers. There looks to have been an unwelcome studio-ordered edit as the story seems shortened; and, of course, Mr. Wells (and I) would have ended it differently - the scene with Tracy kneeling by his bed, bathed in sunlight, with son Phillip Trent (as Tommy) and Mr. Morgan, should have ended with a close-up of the scar on Tracy's outstretched hand...

******** The Power and the Glory (8/16/33) William K. Howard ~ Spencer Tracy, Colleen Moore, Ralph Morgan, Helen Vinson