Un homme dans la foule

It is surprising that 'A Face in the Crowd' only got a mixed critical reception when it first came out, though can actually understand why some were not so taken with it. It is great though that 'A Face in the Crowd' has gotten the acclaim it deserves over-time and is so highly regarded here. Anybody that wants to see every film directed by Elia Kazan, see a different side to star Andy Griffith and see a very interesting subject being addressed should absolutely watch this film.

As far as Kazan's films go (all of which are woth watching, even if for a couple of them just the once though to me he never made a "bad" film), 'A Face in the Crowd' is not as iconic as 'On the Waterfront', 'A Streetcar Named Desire' or 'East of Eden' or as emotionally powerful as 'A Tree Grows in Brooklyn', 'Pinky' and 'Man on a Tightrope'. It is still up there as one of his better films in my view, but he is not the only reason to see it. It was really interesting to see Griffith in such a different role and do it so well and in terms of subject matter it is one of the bravest ones of Kazan's films along with 'Pinky'.

With the exception of 'The Visitors', one of the few films from Kazan that didn't feel like it came from him, Kazan's films were very well made visually. That is the case with 'A Face in the Crowd', it is shot intimately without being static and opened up enough without being heavy or trying to do too much. While having the right amount of audacious style and grit. The editing is sharp and fluid and the locations are made good use of. The music is effective enough, isn't overused and at least fits the mood, wouldn't have said no to Alfred Newman or Alex North scoring though.

Kazan's direction is typically on the money, apart from the rare occasions where a film of his doesn't feel like it was directed by him (i.e. 'The Visitors'). He has great visual style, gives so much dramatic impact to scenes and his famously peerless direction of actors and how he got such great performances from actors against type or inexperienced is all on display here in 'A Face in the Crowd'. The script is razor sharp and has scathing bite as ought for a film with a satirical edge, and provokes a lot of though. Although it is very scathing to the extent that it's almost scary, it is done in good taste too.

The story is a compelling and brave one, really admire it when any film or anything take on this subject and represent the media in this way (a truthful one by the way and should be portrayed a lot more) and it has aged incredibly well. Namely because, sadly, the subject is still very relevant today (just like when 'Pinky' tackled racism). Anybody who has read any of my previous reviews will notice my admiration for films handling difficult but worth addressing topics and exploring them in an uncompromising way, which 'A Face in the Crowd' does and brilliantly, and if anybody feels uncomfortable after watching that is a good thing.

Furthermore, the characters are interesting. Can understand where some critics are coming from when they feel that with Rhodes being such a juicy and larger than life character with an incredibly powerful presence in a quite scary way that he dominates everything else too much, but personally don't agree so much. Although it is Rhodes that everybody remembers, one shouldn't overlook the other characters as Marcia brings a lot of heart to the film. He also doesn't feel too much of a cartoon at all and is quite accurate too. Griffith is absolutely brilliant and was never better, while there is also a fine performance from an emotive Patricia Neal. All the performances are very good.

My only complaint is the slightly too drawn out ending.

Otherwise, this is absolutely great in almost every way. 9/10

There are two major things that I find quite fascinating as I watch this 1957 classic. The first is the prophetic, hyper-realistic portrayal of television as a pervasive medium encroaching upon people's lives in ways unheard of back in the 1950's. The second is Andy Griffith's pull-all-the-stops performance as drunken hobo-turned-media sensation "Lonesome" Rhodes. For those who know Griffith only for his homespun TV portrayals, you will be surprised how remarkably he shows the venal underbelly and high-octane charisma of a character miles away from kindly, soft-spoken Sheriff Andy Taylor.

Master filmmaker Elia Kazan and writer Budd Schulberg, collaborating for the second and last time after their brilliant "On the Waterfront" three years earlier, tell the story of Rhodes, a burgeoning pop-culture phenomenon thanks primarily to the efforts of Marcia Jeffries, a young radio program host who discovers him sprawled in a hangover on the floor of a rural Arkansas jail. He mesmerizes the local radio audience with an improvised country song about his predicament, "Free Man in the Morning", and this marks the beginning of his meteoric rise all the way to his own weekly national TV program. As he capitalizes on his folksy charm and empathetic manner, he becomes a power-crazed tyrant behind the scenes. A corporate tycoon wants to use Rhodes' influence to sway a Presidential campaign in his favor, and Rhodes' megalomania moves him lockstep into a Citizen Kane-like form of paranoia.

It all seems exaggerated but it's brilliantly observed much like a film that covered the same themes twenty years later, Sidney Lumet and Paddy Chayefsky's "Network". However, even with strong doses of black comedy sprinkled throughout, Kazan and Schulberg use more melodramatic elements in their skewering until the near-Shakespearian climax when Rhodes' comeuppance takes on a grandly theatrical fervor. In a way, it seems a shame that Griffith never got another chance to bring out his dark side on the big screen. While sometimes wildly undisciplined in his film debut, he dexterously shows the cunning and charisma of his character to a level that makes his national celebrity utterly credible.

Showing his amazing facility to elicit stellar work from a wide variety of actors, Kazan assembled a strong cast to back him up starting with Patricia Neal, who is just as devastating as Marcia, a woman torn between ambition, decency and her fateful attraction to Rhodes. An impossibly young Walter Matthau shows the beginnings of his cynical screen persona as Mel, a crafty television writer who de facto becomes Marcia's conscience. In their film debuts and making indelible impressions, Anthony Franciosa and Lee Remick play Joey, an office lackey who turns into Rhodes' immoral agent, and Betty Lou, a teenaged baton twirler seduced easily by Rhodes' power, respectively.

If the film has one flaw, it's that it runs on a bit long for the parable it tells especially since Rhodes' moral ambiguity is pretty much settled in the first half of the story. Nevertheless, this movie is essential viewing as it not only shows a powerful early indictment of television (and supports Marshall McLuhan's mantra, "The medium is the message") but provides another example of the under-appreciated artistry of Kazan and Schulberg. The 2005 DVD has unfortunately no commentary track but one strong extra, a half-hour 2005 featurette, "Facing the Past", which spotlights Kazan's polarizing testimony in front of the House Committee on Un-American Activities and the threatening role of television in the 1950's, both major factors in making the film. Griffith, Neal, Schulberg are interviewed. There is also a widescreen version of the original film trailer.

Elia Kazan will always be remembered as one of the most important directors of his era. With great movies like A Streetcar Named Desire and On The Waterfront, he forever established his position in cinema history. A Face in the Crowd is one of his lesser known movies that flopped at the box office when it was initially released, and was completely ignored by the Academy. It only got some following much later, when it was released on DVD, which is a shame since A Face in the Crowd doesn't greatly differ from Kazan's more popular movies. To correct this historical injustice, I decided to review this movie and spread the word about it as much as I can.

The movie opens with a young woman, named Marcia Jeffries (Patricia Neal), visiting the prison in her small town. She is doing a radio show called 'A Face in the Crowd' during which she talks with everyday people, transmitting their stories. In the prison she meets a man who calls himself 'Lonesome' Rhodes (Andy Griffith) – a hobo arrested for drunk and disorderly behavior. She tapes him for her show and the episode becomes a huge hit. Marcia and her uncle, who is the owner of the local radio station on which 'A Face in the Crowd' airs, offer 'Lonesome' a job on the radio station. He accepts and soon becomes a sensation with the local populace – and eventually, with the whole country.

A Face in the crowd is what you may call a movie ahead of its time, and that's maybe why it wasn't recognized when it was initially released. It deals with topics like the media, celebrities, propaganda and politics. And in this day and age, when we are surrounded by the internet and the mass media, A Face in the Crowd may seem more actual than ever. A Face in the Crowd is essentially about a corrupted man who has a gift for public relations, and uses this gift as means to an end – the end being his own benefit. I think every last one of us knows at least one politician, public personality or celebrity who is just like that. A Face in the Crowd is a dark, frighteningly realistic movie which is brilliantly directed and masterfully paced. It runs for over 2 hours but never feels dull or boring.

In a character study movie like this one, the actor portraying the character plays a very important part in the quality of the movie. 'Lonesome' Rhodes is portrayed by Andy Griffith in his first movie performance ever. He did an astonishingly great job and, like I said before, it's a shame that the Academy overlooked this movie, especially his performance. Andy Griffith later went to start in the very popular sitcom 'The Andy Griffith Show', and since his character in the sitcom was much different from his 'Lonesome' Rhodes character, he managed to show his amazing acting range – which makes makes his performance in A Face in the Crowd even more astonishing. Patricia Neal also did a very good job in portraying the character of Marcia Jeffries. Overall, A Face in the Crowd is an amazing movie, made by talented people, which doesn't deserve to be just another face in the crowd – it deserves to be more popular.

Rating: 8/10 Read more at http://passpopcorn.com/

I just saw this movie very late the other night, and I must say WOW! Like the rest of you, I saw "A Face In the Crowd" on a regular VHS edition, but it wouldn't matter which edition I saw it in because this was one of the few movies recently that made the jaw of this movie snob literally DROP with amazement over how daring, how edgy, and how much mastery this movie had over the film-making craft.

I'm beginning to realize that in the 1950's there was a short period of time (1955-1960, say) where the world of Broadway and the theater, Television, and Hollywood came together, and the careers of people like Rod Serling, Sidney Lumet, and "A Face In the Crowd"'s own Budd Schulberg were started. The best screenwriters in the movie business became innately aware of the increasing importance and influence of the new media form Television, while the best directors (like Elia Kazan), many of whom had directed numerous plays, knew how to cull the talents of Broadways hottest and most gifted performers, and at least for a couple of years, managed to get some awesome performances out of them. That's why I view this movie in the same sort of category as "The Sweet Smell of Success", that ever so sour and bitingly satiric parable on the corruption of American glamour and fame, and how publicity is just as much of a curse as a blessing. The performances in that film are like few others in the same era, and I think its no coincidence that "A Face In the Crowd" came out the same year as the other film. The main scribes of both those films, Clifford Odets and Budd Schulberg, were experienced with TV work by the time they penned their masterpieces (though Schulberg could also claim as his masterpiece 'On the Waterfront').

So anyway, I suggest to all who can hear me and have a love enough for this film to want to see it given the presentation it deserves, that we all write to the Criterion Collection and other DVD distributing companies and ask, no DEMAND that a restored, cleaned up version of "A Face In the Crowd", with as many special features as can be rustled up, be released as soon as possible. It's like writing your congressman, except instead of asking for a new factory of national park, we're asking for the wider availability of a piece of art that has gone with far too little acclaim for far too long. Who's with me?!?

hymn Most people will think this movie is about Andy Griffith as Lonsome Rhodes, hick entertainer storyteller megalomaniac. What this film REALLY is is a condemnation of mass media and how the media builds up people to images they can't possibly fulfill. Take Griffith, small town drunk, in jail, with a story to tell and a woman to record it. His story goes over with the public and the woman decides to make Rhodes a media darling. On the other side of the screen is the smoke filled room political machine out to publicize a washed up yokel as politician that they put up for election. Sound familiar? See the film NETWORK and compare Rhodes to the Peter Finch character, Howard Beale.

This film is a scathing indictment of misuse of media, pseudo stardom and all that goes with it. It is allegory to be sure, but then everything old is new again. Take a look at the so called "celebrities" of today and how they got that way and what makes them tick... then watch "A Face In The Crowd!!!!!