Capra. Capra is a style-minus director but has a brilliant filmography (his filmography grades out to be ranked 60th as a director) and unlike others like Huston or Curtiz or some others his great films have a definite consistent ethos and Capra trademark. He will, no doubt, be passed by others and will eventually fall out of the top 100 but the quality and consistency is still worthy of praise. His 7 films in the top 100 of their respective decade (and 5 in the 30’s) is really notable.
Best film: It’s a Wonderful Life
- It’s pure cinematic transcendence in narrative, acting and writing—that much is clear and inarguable. I think though, the most recent viewing has taught me what a doggedly formal work it is so I’ve taken it to another level. Nearly every element in the film has a counterpoint (in childhood and then again later as an adult), bookend (there is sacrifice by Stewart’s Bailey and, in turn, he’s paid back), or doppelganger (in the Pottersville surrealism nightmare). There an unquestionable economy in the script but it’s more poetic than that—it’s about film form like Paterson or The Searchers the elements of duality
- It’s a Mount Rushmore performance from Jimmy Stewart (perhaps second to his work in Vertigo) amongst the best of all-performances of the 1940’s which put it up there all-time (on my short list of top 25). I’ve also said before that Stewart may be cinema’s greatest single actor
- The supporting cast is uniformly superb. Donna Reed is so pure and genuine. Other standouts include Lionel Barymore, the devastating Thomas Mitchell (as Uncle Billy and my god when he loses the money his scenes are tough to watch they’re so wrenchingly powerful) and Gloria Grahame.
- Solid Dimitri Tiomkin score but not amongst his best—it’s better known for the absolutely perfect timing and usage of Auld Lang Syne
- The flashback voice over structure (it’s basically an omniscient narrative (though creatively done) narrator and dark surrealism sequences make people think of noir but it’s not noir—there’s no fatalism in the flashback
- Even without the formal elements there’s real ambition in the storytelling. These two characters (again well done by Stewart and Barrymore) are large, Faustian—the embodiments of good and evil
- The talented ensemble is aided by the idiosyncrasies in the characters put in by Capra. We have Clarence the Angel reading Tom Sawyer (both telling us about his adventurous spirit—which matches George Bailey) and sets up a future joke about the “modern author Mark Twain”
- There’s no reason, outside of genius writing, to have the “Hee-Haw” element put in the character Sam Wainwright (Frank Albertson). I love it—it gives him personality and us, the viewer, and identifier as we’re thrown so many characters from the ensemble in a short time
- The mise-en-scene and décor is more instructive and well-done than I had thought of previously. We have a poster of Abe Lincoln
- I’m of a mind to think that George Bailey, perhaps only second behind Michael Corleone from the godfather (who has the benefit of 2 masterpieces and 6+ hours of brilliant cinema to work with), is the greatest single character in cinema history. He’s heavy—something like David Copperfield from Dickens or something from Dostoevsky—it’s novelistic in his arch and depth.
- Again, everything has such formal balance and meaning—everything has a counter-point- we have the teacher and the husband Bailey insults on the phone. But it’s not just an excuse to show he’s angry (and he cares about his daughter getting sick) and not himself—he’s punched and that blood shows him (in part) hitting rock bottom and also acts as a signifier that he’s no longer in the normal Bedford Falls reality—
- One of the best scenes of acting on display is Stewart breaking down and praying in the bar (pic above)—it’s shattering.
- Another favorite shot of mine is the close-up of Stewart (with what looks like a wide angle lens) after visiting his mother in the surrealism Potterville scene—it shows he’s absolutely floored by the situation
- Sacrifices paid back along the way of this “wonderful life”- rigid formalism
- Breezy wipe edits—which is trademark of Capra and his pacing—I’m not always in love with it here—but he is trying to condense a novel on film here into 130 minutes. I would’ve used a different transition and made it 135 or 140 minutes.
- When we first show Stewart (as a grown up George Bailey) we have him in freeze frame—great shot—he’s a huge personality
- The poison story with Mr. Gower (HB Warner) and a young George Bailey is a brilliant novella on its own—it could be a standalone short story and a great one at that
- “hot dog” line is another sign of formalism repeated— in fact nearly every lined is repeated or comes back- the bannister top, etc.
- There are a few poorly edited transitions—not a big deal but could do without
- Again, if it were just the writing, acting and consistency of Capra’s voice as an auteur (he and his populist themes and narratives he was known for) we’d still have a masterpiece but formal aspects are glaring to me now and the ending, which wipes me out every time, is a formal masterstroke with everything coming back
total archiveable films: 11
top 100 films: 1 (It’s a Wonderful Life)
top 500 films: 3 (It’s a Wonderful Life, It Happened One Night, Mr. Smith Goes to Washington)
top 100 films of the decade: 7 (It’s a Wonderful Life, It Happened One Night, Mr. Smith Goes to Washington, Lost Horizon, Mr. Deeds Goes to Town, You Can’t Take It With You, Arsenic and Old Lace)
most overrated: Capra doesn’t have one- he only has 3 films in the TSPDT top 1000 and I think that’s low— and all 3 films (my top 3 films) are either rated fine or underrated.
most underrated: I actually think Mr. Smith Goes to Washington is underrated. It’s a little hokey but it’s wonderfully written, acted, and edited (a main Capra stylistic trait) and there’s no way there are #654 better films (TSPDT #655 ranking). I’ve got it at #449.
- Tour-de-force from Jimmy Stewart- especially in the last 30 minutes with the filibuster sequence
- Capra and Stewart sure are the normal rockwell of cinema- Definition of wholesome with his “gee whiz” sayings and naivety- it will test people but you can’t be too cynical- this film will win those over much like they do the jaded (at the beginning) jean arthur
- Rumor is Arthur wanted deeds star gary cooper for Jefferson Smith but cooper couldn’t have pulled off the intelligence (nor the passion in the last half hour) stewart gives the character
- Fast-paced wipe editing- 7 different characters speak in the first 60 seconds
- A few actors here from the Preston Sturges battery of actors including Eugene Pallette and William Demarest
- Edward Arnold plays- Jim Taylor—a very evil Potter-like from it’s a wonderful life character
- Best screenplay win- justifiably so
- Newspaper headline montage as transitions
- Another montage is the tour of DC monuments montage
- A really strong ensemble- Arthur is great as the “wised up” jaded insider- she’s completely won over, over the course of the film, like the audience, by Stewart/smith
- Thomas Mitchell is wonderful as the drunk “I gotta go out and drink this over” (he won best supporting Oscar same year for stagecoach– also playing a drunk)
- I don’t fully understand the Harry Carey Oscar nom- he mostly just smirks
- An almost comic-strip-like montage of stewart punching reporters
- Broad edges- A few too many quickly cheering applauds, parades
- Top 5 of the year quality film
gem I want to spotlight: The Bitter Tea of General Yen
- Much like capra’s it’s a wonderful life the film can get very dark- early on there’s a hanging man in war-ravaged china blocking the mise-en-scene like a von Sternberg film
- Quickly edited but there’s some mistakes here with some slopping in scene dialogue continuity editing- Capra would get much better
- Very nice post-war set pieces with tons of extras- powerful scenes
- There’s a very interesting surrealism interlude- almost like a small silent film featuring the Nils Asther character as an almost nosferatu-like vampire with long nose and fingernails—it has very dramatic music like the silent, too
- I love Stanwyck and she’s fine here (not one of her better roles) but she’s better as a femme fatale than as the purer character here
- The film doesn’t fully follow the capra ethos
- The star crossed lovers would work again in it happened one night and yet again in mr smith goes to Washington (cynical Jean Arthur vs boy scout Jimmy Stewart)
- In the archives but not top 10 of 1933- lesser Capra
stylistic innovations/traits: Capra’s major narrative and thematic trait is the small-town populism throughout his oeuvre. It charmed depression-era audiences. He is definitely criticized for being sentimental, idealistic and overly simple but he is definitely consistent and I admire that as I rate his auteur status- especially working in Hollywood during the 30’s and 40’s—such a personal stamp on his films (with the real exception of Arsenic and Old Lace which is more pure comedy). His films are impeccably edited. I mean look at the pacing to it happened one night or some of the montage sequences in Mr. Smith (which can still capture a 10th grade history class’s attention). Lost horizon is a pretty beautiful film as is It’s a Wonderful Life.
top 10
- It’s a Wonderful Life
- It Happened One Night
- Mr. Smith Goes to Washington
- Lost Horizon
- Mr. Deeds Goes to Town
- Arsenic and Old Lace
- You Can’t Take it With You
- Meet John Doe
- The Bitter Tea of General Yen
- Platinum Blonde
By year and grades
| 1931- Platinum Blonde | R |
| 1933- Lady For a Day | R |
| 1933- The Bitter Tea of General Yen | R |
| 1934- It Happened One Night | MP |
| 1936- Mr. Deeds Goes to Town | HR |
| 1937- Lost Horizon | HR |
| 1938- You Can’t Take it With You | HR |
| 1939- Mr. Smith Goes to Washington | MS |
| 1941- Meet John Doe | R |
| 1944- Arsenic and Old Lace | HR |
| 1946- It’s a Wonderful Life | MP |
*MP is Masterpiece- top 1-3 quality of the year film
MS is Must-see- top 5-6 quality of the year film
HR is Highly Recommend- top 10 quality of the year film
R is Recommend- outside the top 10 of the year quality film but still in the archives
Study Summary:
Frank Capra
I have always been drawn to films with dark subject matter and films that are dark in mood and atmosphere. Unsurprisingly many of my personal favorite films fall under one of the following categories: film noir, mob films, crime films, and psychological thrillers. Of course, not every film fits neatly into a single genre and there is certainly overlap between genres. With that said, it is nice to switch things up every now and then, so I decided to check out a filmmaker who specializes in films that are much lighter in subject matter and mood than most of the filmmakers I have covered thus far. This should not be interpreted as Frank Capra’s work lacking any depth or intrigue
Frank Capra does not have incredible visuals like most of the auteurs I have covered thus far. He is more like Howard Hawks in that he is a great storyteller and knows what film audiences want. His films are highly enjoyable and very rewatchable so I will certainly see most of the films in this Study again at some point though I think I covered most of Capra’s highest acclaimed films
Capra’s films are often sentimental and feature idealistic characters, James Stewart’s character in Mr. Smith Goes to Washington might be the ultimate example of these characteristics. For some critics and viewers, it might be too much at times. I enjoy the sentimental nature of most of his work as it serves as an interesting counter point to the work of auteurs with dark subject matter
I love this quote from François Truffaut:
“Today, I demand that a film express either the joy of making cinema or the agony of making cinema. I am not at all interested in anything in between; I am not interested in all those films that do not pulse.”
Frank Capra was an Italian immigrant whose family left Italy for the United States when he was five years old. Capra remembers his father being mesmerized by the sight of the Statue of Liberty when they arrived in America. His family, who had little money, wanted Frank to work after High School but Frank worked his way through college instead. Frank Capra really is the American Dream, and I think this is one of the primary reasons for his sentimentalism as well as idealism
Frank Capra has 3 films that are at or near MP level. Mr. Smith Goes to Washington and It Happened One Night both are borderline MP. It’s a Wonderful Life (1946) is his single best film as it succeeds at every level with amazing performances, writing, and an incredible narrative. It is also his best film visually with highlights including a spectacular freeze frame to introduce the Jimmy Stewart character, high contrast lighting and shadow during the Potterville sequence, effective framing, and overhead shots emphasizing the omnipresent narrator
Capra picks his lead roles well. Prior to this study I had never watched any of Cary Cooper’s films. Cooper, Jimmy Stewart, and Cary Grant are all perfect casting choices for the films they starred in during this Study
Final Ranking and Grades:
# 1 It’s a Wonderful Life (1946) – MP
# 2 Mr. Smith Goes to Washington (1939) – MP/MS
# 3 It Happened One Night (1934) – MP/MS
# 4 Mr. Deeds Goes to Town (1936) – HR
# 5 You Can’t Take it With You (1938) – HR
# 6 Arsenic and Old Lace (1944) – HR
# 7 Meet John Doe (1941) – R
# 8 Lady for a Day Heat (1933) – R
# 9 Platinum Blonde (1931) – R
# 10 The Bitter Tea of General Yen (1933) – R
It’s a Wonderful Life (1946)
Notes:
The film opens on a snowy Christmas Eve 1945, in Bedford Falls, New York. An omnipresent narrator speaks about a man named George Bailey who contemplates suicide. The prayers of his family and friends reach Heaven, where guardian angel second class Clarence Odbody is assigned to save George in order to earn his wings.
Bedford Falls
2:04 the overhead shot of the town cuts to shot of outer space
4:01 George Bailey as a 12-year-old sledding with his friends and younger brother Harry
5:03 George saves his brother Harry after he accidentally falls through ice of pond
7:39 exposition via newspaper, the son of George’s boss dies
8:28 detailed mise en scene with bottles of liquor, actual poison, and photo of the son of the boss
9:33 the Villain of the film Mr. Potter, a wealthy man but callous man with no family. Potter is in wheelchair but is framed in the center of a triangle composition of three other characters
11:53 adult George Bailey played by Jimmy Stewart; freeze frame on outstretched arms of George who wants large suitcase as he intends on leaving Bedford Falls due to his high ambitions
17:30 George talks with father about going out to see the world. His father works at Bailey Brothers Building and Loan
20:38 close up shot on Mary from George POV
21:30 high angle shot of Bedford Falls dance where George dances with Mary
23:19 overhead shot showing the moving dance floor which was a pool underneath. George and Mary both fall in but keep dancing like nothing happened and other people jump in
29 min white picket fence is suburb cliché
30:00 George with the board and Mr. Potter three months after his father passed away
33:55 “sentimental hogwash” Mr. Potter following George’s speech about his father’s goodness
35:05 close up on George’s face upon discovering he cannot leave town otherwise Mr. Potter will take over the business, this is followed by dissolve and shot of the sky and omnipresent narrator
37:50 photo taken of all the employees filling the frame with characters, emphasizing community
39:04 shallow focus with George in foreground smoking a cigarette outside of the celebration
43:01 George and Mary shot with significant depth of field between them
44:03 George and Mary shot at significant depths with foreground and deep background showing the increasing distance the increasingly miserable George is putting between himself and people
47:10 nice use of foreground/background in this two-shot (looks like a split diopter shot)
50:21 George and Mary are married
52:07 frame in frame through back of car with two-shot of George and Mary watching commotion in the streets outside of the bank
52:24 frame in frame through car window with Mary isolated in the frame watching as George walks over to the bank
54:00 detailed mise en scene in shot of Potter inside his expensive house
55:28 surveillance angle shot with George on left side of frame and crowd of customers on the right side of the frame
58:28 frame filled with customers, again emphasizing community
1:00:21 pouring rain during honeymoon
1:08:04 George in Mr. Potter’s office with a large photo of Mr. Potter on the wall in the background
1:15:55 war montage followed by cut to George “fighting the battle of Bedford Falls”
1:17:26 patriotic music while Harry Bailey is being given a welcome home party
1:20:38 Mr. Potter accidentally receives Uncle Billy’s money and decides to keep it
1:25:00 Merry Christmas decorations as a defeated looking George arrives at home, noticeable space between George and his family who he starts taking out his frustrations on them
1:30:45 George shot in isolation throughout sequence with alternating shots with his family
1:35:34 snowing night with George entering bar after unsuccessfully asking Mr. Potter for money
1:39:10 overhead shot with George on bridge about to jump to his death during freezing night
1:40:30 Clarence Odbody reveals himself as sent from heaven
1:46:20 Potterville scene begins as George is shown in alternate timeline in which he sees how Bedford Falls would be if George Bailey never existed
1:50:36 George and Clarence are thrown out of “Nick’s” not “Martini’s”
1:50:27 reference to scene from beginning of the film
1:52:48 George notices lit up sign for Potterville
1:52:58 tracking shot through Potterville at night showing
1:55:52 silhouette image of police officers looking for George
1:58:00 camera moves in on George’s horrified face, partially covered with shadow
1:58:33 shot of cemetery at night with shadow covering George and Clarence
2:02:10 George returns to Bedford Falls
The film ends with George showing appreciation for his family
Thoughts:
Somehow this film slipped past me for a long time, I only saw for the first time a few years ago. It feels different and special right in the first few minutes with the fantasy element. It is a brilliantly creative narration choice and wisely is only used a few times
Everything that makes Capra great is exemplified in this film. There are great individual sequences; I love the dance scene, especially when George and Mary keep dancing in the pool. You have the community aspect of the film such as the scene where George manages to save the bank by convincing the customers/clients to stay and not leave for Mr. Potter. The socially conscious element of Capra is present with Stewart’s George Bailey making a couple of speeches including levying insults at the greedy Mr. Potter; not that a film needs any kind of message, but it is consist with most of Capra’s other films
Amongst other elements, this is one of the great examinations of a man’s life along with films like Ikiru (1952), Raging Bull (1980), and Citizen Kane (1941) to name a few others. George Bailey is such a rich character. Jimmy Stewart gives an all-timer of a performance as George has elements of the idealism of his character in Mr. Smith Goes to Washington (1939) but is more playful which is similar to his character from You Can’t Take It with You (1938). However, his character has a slightly dark side as he becomes increasingly bitter and even a bit mean spirited as his dream of leaving Bedford Falls is perpetually put on hold
Mr. Potter is a great Villain; a combination of Scrooge and the Grinch, he seems to enjoy the suffering of others and looks down at any attempts to question his values as “sentimental hogwash.” The framing of Potter is crucial in demonstrating his power despite being an older man who is in a wheelchair. Potter always has employees by his side, but they are usually on his side and in some scenes with their heads out of the frame. In a number of shots Potter has a portrait of himself hanging on the wall of his office. Thus, his power is always demonstrated visually
Capra uses closeups on the faces of George and Mary during some of the highly emotional scenes such as when George learns he cannot leave town without Mr. Potter taking over the business. He also uses closeups on Mary’s face several times, showing how enamored George is with her
As George becomes increasingly bitter, Capra uses depth of field to emphasize the increasing amount of space between George and other characters in the frame. George becomes increasingly isolated from the town, both physically and emotionally
The Potterville scenes have elements of surrealism as they are a sort of bizarro world. There are shots during this sequence similar to the opening of the film only now, the town is run entirely by Potter and there are numerous unsavory businesses. The use of shadow and high contrast lighting stands out here. There is a great close up on George’s face which is half covered by shadow; he is shocked to see how different the town is now
There is a great freeze frame introducing Jimmy Stewart’s George Bailey. It emphasizes George’s desire to get away as he is requesting the largest suitcase possible
Verdict: MP
Arsenic and Old Lace (1944)
Notes:
Cary Grant as Mortimer Brewster
Priscilla Lane as Elaine Brewster
Opens with rooftop shot of Brooklyn, NY and with a superimposed image of a baseball with “Brooklyn” lettered on it followed by a match cut to a baseball game where a brawl breaks out
2:20 Cary Grant as Mortimer Brewster, a theatre critic, who waits in line for a marriage license with Elaine Harper (Priscilla Lane)
19:40 camera holds on a stunned-looking Mortimer after seeing a dead body in his aunt’s house
21:30 Mortimer’s two aunts; Martha Brewster and Abby Brewster are nonchalant about the dead body that Mortimer is shocked by
25:25 Mortimer discovers this is the 11th of 12th murder
28:44 “a pinch of cyanide” the sisters talking about their deadly drink recipes
30:11 Mortimer places phone call with stair rails in the foreground of the frame resembling prison bars as a shocked Mortimer contemplates what to do
32:12 Mortimer literally throws his new wife out of the house as he calls the judge in a panic
36:13 triangle compositions as Mortimer scolds his aunts who react like children being lectured by their parents
39:38 nice composition with lamp in foreground and dinner candles on table in background
39:56 silhouette shadow figures knocking on door outside of house
40:52 slow zoom in on the face of the taller man in profile shot, this man is revealed to be Jonathon Brewster (Raymound Massey) and the 2nd character who is revealed to be Dr. Einstein (Peter Lorre). Jonathon has distinct scars on his face
47:47 Teddy Roosevelt” Brewster is Mortimer’s younger brother; he is mentally disturbed and believes he is Teddy Roosevelt who at the time was former president of the US
54:54 nice use of silhouette outside of attic
55:55 more silhouette shots showing Jonathon carrying body out of attic
56:42 tracking shot with candlelight through dark house
59:03 Elaine Harper returns to house and meets Jonathon and Dr. Einstein
1:11:48 police officer happens to be in the neighborhood and enters the house
1:12:20 police officer happens to be writing a play and recognizes Mortimer as a critic and he asks him for advice
1:19:20 Jonathon and Dr. Einstein debate with the Aunts over who has killed more people
1:25:47 shadow of Jonathon engulfs Dr. Einstein
1:30:25 Mortimer bound as he is tied up with ropes
1:33:38 shadow of police officer who returns to the house
1:38:20 slapstick as police officers inspecting house leads to wild fight
1:41:00 all the storylines leading to comedic revelations
The film ends with a series of twists and revelations
Thoughts:
This is more of a straight up comedy than his more socially conscious drama/comedies. There are elements of screwball comedy as well as you have Cary Grant playing a charming theatre critic with a crazy family that produces an endless array of wild scenarios for the recently married man to navigate while keeping his wife at bay
Mortimer has a brother who thinks he’s former US president Teddy Roosevelt, 2 aunts who are serial killers, an older brother who escapes from a mental institution. You also have a police officer who just happens to be a lover of theatre who has been working on writing a play himself, Mortimer’s new bride who happens to be a next-door neighbor. As stated above there are a non-stop wild scenario with unbelievable coincidences, misunderstandings, and character revelations
The macabre humor reminded me of The Lady Killers (1955), obviously this film precedes it by 11 years. Only in this film, it is the sweet old ladies, Mortimer’s aunts, who are secretly serial killers who view their actions as a sort of charitable service
There is some impressive use of lighting that is straight out of film noir. Capra uses silhouette imagery in several scenes as well as use of shadow including a great scene around the 85 min mark when Jonathon’s shadow looms over Dr. Einstein. The high contrast lighting fits with the films’ sinister atmosphere even if it all has a comedic nature. Much of the film actually takes place in dimly lit rooms including the attic and basement and staircases are used frequently as characters are often walking up or down them
Capra really picks his leads well using Jimmy Stewart, Gary Cooper, and now Cary Grant who is the perfect lead for a screwball comedy
Verdict: HR
Meet John Doe (1941)
Notes:
Gary Cooper as John Doe/Long John Willoughby
Barbara Stanwyck as Ann Mitchell
Edward Arnold as D.B. Norton
Walter Brennan as The Colonel
The basic set up is that a small newspaper is renamed to New Bulletin. Barbara Stanwyck plays Ann Mitchell, a staffer who is let go but told she needs to write a final article. Ann prints a letter from a fictional unemployed man “John Doe” threatening suicide on Christmas Eve to protest the problems of society, this is set following the Great Depression. Ann’s article ends up becoming a sensation as readers can relate to John Doe’s despair and hardships. Gary Cooper plays John Willoughby, a former baseball player, who is now down on his luck and in need of money
Thoughts:
Capra with another film filled with idealistic characters, scheming politicians, populism, and sentimental characters. There are shots of large crowds and images with characters tightly packed into the frame; this aligns with the themes of community, patriotism, and national pride that is present in other Capra films
Gary Cooper works as the reluctant hero who comes to realize he is being used by the politicians. Interesting that Gary Cooper plays a former baseball player; this comes one year before Cooper starred in The Pride of the Yankees as the legendary Lou Gehrig
Capra likes to use montages. He uses wipe edits during one around the 14 min mark and around the 27 min mark uses dissolves during a newspaper montage. Around the 67 min mark is another montage that uses dissolves as you have shots of John Doe becoming a household name across the country as he becomes a sensation
Verdict: R
Mr. Smith Goes to Washington (1939)
Notes:
Jimmy Stewart
Jean Arthur
Opening credits with a Dimitri Tiomkin score resembling “Yankee Doodle”
Series of telephone messages that Senator Sam Foley has died
5:40 dim lite room as 3 high level government officials discuss politics
6:50 Government Hubert’s children talk politics bringing up the name Jefferson Smith
8:29 Hubert flips a coin to decide between Hill and Miller followed by close up on the coin which lands straight up due newspaper breaking its fall with a story about Jeff Smith
9:05 nice foreground/background work with Boy Rangers Headquarters sign in foreground
9:37 newspaper montage of Jimmy Stewart’s Mr. Smith being named Senator
11:30 first shot of Senator Jefferson Smith
13:52 frame filled with kids during event
18:38 Jeff in Washington DC looks around in awe
22:21great montage with use of dissolves of historical sites and statues throughout Washington DC including George Washington
22:59 magnificent long shot when frame in frame of Jeff standing in front of the Lincoln Memorial
23:13 camera pan down over Lincoln Statue
31:38 Mr. Smith a natural at charming reporters
32:58 newspaper montage of silly photos of Mr. Smith
34:55 frame in frame as Mr. Smith enters the Senate
43:00 Jeff is upset after being teased for being a useless stooge
48 min Jeff speaks with Jean Arthur’s Clarissa Saunders
52:45 cut to close up of Clarissa in soft focus
59:06 reaction shots of boys in the upper level of the Senate applauding Smith’s request and unaware that the land he wants to use for the boys camp is being used for a dam
59:10 back and forth shots of Smith isolated in the frame followed by a shot of crowded Senate
1:12:10 static shot of an upset Clarissa walking down the hall, Capra likes to hold shots of characters in highly emotional states
1:23:09 great frame in frame in upper chamber of Senate, with a high angle shot
1:26:25 montage of people testifying to the veracity of a signature from Smith using wipe cuts
1:29:28 camera held on a sad Mr. Smith
1:29:52 nice use of silhouette of Mr. Smith who is isolated in the frame, shot during a defeated looking Smith after his proposal is shut down, followed by a nice two-shot of Smith and Clarissa
1:34:15 Smith turns toward Clarissa who gives him much needed encouragement to not quit
1:34:50 rapid cut to a reinvigorated Smith
1:36:59 high angle shot of Senate
1:43:32 Smith is not isolated in the frame but there is a great amount of negative space after all the lower-level politicians had left the courtroom
1:48:10 an all-out smear campaign against Smith including billboards
1:49:44 high angle shot of entire Senate room
1:51:20 a standing Smith in center of frame surrounded in every direction by people sitting, it’s another strong use of framing, here showing Smith as the center of the attention
1:55:21 shallow focus shot of Smith
1:59:40 children beat up by ruthless thugs
2:04:59 Smith’s head tilts upward and camera lingers on his devastated face
2:05:50 shallow focus shot of exhausted Smith
2:06:34 slightly tilted low angle shot of an exhausted but passionate Smith shortly before he passes out, though he is ultimately okay
The film ends with Senator Joseph Paine returning to courtroom and confessing to the lies he told about Smith followed by children celebrating in courtroom
Thoughts:
This is an excellent film with a tremendous performance from Jimmy Stewart as the eponymous character Jeffrey Smith or Mr. Smith. It was a brilliant casting choice with Stewart’s boy scout image which is fitting here playing a character who is actually a boy scout. Capra effectively juxtaposes images of Mr. Smith and grand images of DC monuments which contributes to the visualization of “man vs the system”. Additionally, there are frequent low angle shots making the capital look more intimidating from POV of Mr. Smith. The literal boy scouts represent innocence and serve as an effective contrast to the corrupt politicians running the government
There are great montages of Washington DC as Stewart’s Mr. Smith has a boyish earnestness to him as he views many of the famous sites of the DC including the Lincoln Memorial which is used in several scenes. The montages are shot in a dreamlike fashion matching the idealism of Mr. Smith who is overwhelmed by the monuments of the city. Capra uses wipe edits and newspaper montages to push the narrative forward in several scenes
The framing of shots is key in demonstrating Mr. Smith’s outsider status as he is often shot in isolation and with back-and-forth cuts between Smith isolated in frame and the rest of the Senate. His views and overall demeanor and values are so different from the rest of the Senate and the framing accentuates this dynamic. There are several high angle shots of the entire Senate in order to further demonstrate Smith’s feeling of overwhelming attention that he eventually learns to overcome by the end of the film
The scene where Jimmy Stewart goes around town punching people is hilarious, I am not even sure if it is meant to be funny or if the humor is unintentional but either way it is great
There are a number of long courtroom scenes, but Capra is cutting frequently, using a variety of camera angles so it never feels stagnated. Close ups on the face of Mr. Smith are contrasted with shots of the Senate filling up the frame
The back-office dealings of political corruption occur in dimly lit rooms with just a couple of individuals, this is a contrast to the scenes at the Senate which is well lit and packed with people
The film’s pacing is perfect, which seems to be one of Capra’s strengths. There are a few scenes, usually involving the Jean Arthur character, where Capra hits the breaks on the narrative. Like previous Capra films of this Study, Capra will hold shots of characters during emotional sequences. There are some great close up and medium close-up shots of Stewart in his most emotional sequences
Funny enough my first knowledge of this film came indirectly through a hilarious Family Guy episode “Mr. Griffin Goes to Washington”
The film’s over-the-top sentimentalism is a strength in my book. I get that some people will feel that it is a bit much at times. But Capra uses it consistently throughout his work
Verdict: MP/MS
You Can’t Take It with You (1938)
Notes:
Jimmy Stewart as Tony Kirby
Jean Arthur as Alice Sycamore
Lionel Barrymore as Grandpa Martin Vanderhof
Opens with a wealthy banker Arthur Kirby returning from DC boasting about having a monopoly on munitions factories after buying up 12 block area
1:28 overhead shot inside bank
4:55 an old man in the 12 blocks does not want to sell his house which is holding up Arthur Kirby’s monopoly
7:17 Mr. Poppins playing with toy he made which is his passion
9:41 Mr. Blakely breaks up the fun
10:46 Mr. Poppins quits his job
10:58 match cut to Sycamore family home
15 min Sycamore family filled with eccentric but likeable people who live a carefree lifestyle set up as a contrast to the life of the Kirby Family
19:33 Tony Kirby (Jimmy Stewart) and Alice Sycamore (Jean Arthur) are a young couple in life and from very different families
28:48 detailed mise en scene capturing the Sycamore house
29:07 nice blocking with 3 characters on perimeter of frame
34 min Alice has talk with her beloved grandfather, Martin Vanderhof
41 min Vanderhof has not paid income taxes in 22 years
44 min Tony Kirby fits right in with eccentric family
51:55 Tony and Alice have long talk on bench during date
52 min the almost kiss is interrupted by band of children singing and dancing
56:01 Tony introduces Alice to his family at a high-end restaurant where they are out eating
57:05 reverse tracking shot in restaurant
1:05:41 The Kirby family entering the Sycamore house with everyone dancing creating a shocking moment for the uber conservative Kirby’s
1:16:13 Arthur Kirby wrestled to the ground
1:17:00 the Kirby family is about to leave after a rough meeting
1:17:45 police show up due to misunderstanding but when the fireworks in the basement go off, they arrest everyone in the house
1:22:18 two-shot of Tony and Arthur behind bars
1:22:50 spontaneous singing and dancing behind the prison bars
1:28:10 triangle composition behind bars reveals that Mr. Kirby’s right-handed man orchestrated the arrest as its revealed that Martin Vanderhof is the owner of the only house that won’t sell and is upholding Mr. Kirby’s deal to own the 12 blocks
1:29:38 frame packed to the brim with characters
1:35:14 nice blocking in court room sequence with the Kirby’s in the foreground and judge in the background
1:38:19 chaotic courtroom scene
1:39:25 newspaper montage showing the courtroom drama including Alice telling off Tony for how poorly his family treated her
1:41:11 great composition of the Sycamore family with character blocking capturing the melancholy vibe with rain falling outside windows in background of the frame
1:45:06 newspaper montage as Martin Vanderhof agrees to sell the house
1:46:38 Anthony P. Kirby sliding harmonica down empty table
1:47:23 nice use of background/foreground with Ramsey in foreground facing away from camera and Kirby and his associates in the background
1:53:00 camera lingers on Anthony P. Kirby after Tony tells him he’s resigning
1:54:50 great blocking in this composition of Kirby walking into room of clapping associates
2:00:25 Mr. Kirby asks advice from Martin Vanderhof and it is soon revealed that Kirby has sold back the houses on the block
Thoughts:
Another excellent screenplay with masterful pacing which is a clear strength of Capra
There are elements of the film similar to Meet the Parents (2000), the hilarious comedy where Ben Stiller meets his future in laws and its sequel Meet the Fockers (2004) where you have two radically different families; here you have the conservative wealthy Kirby Family and the liberal free spirited Sycamore Family
The performances are excellent all around. Jimmy Stewart and Jean Arthur have chemistry together with Stewart. Although Lionel Barrymore might give the best performance as Grandpa Martin Vanderhof who serves as a sort of foil to Edward Arnold’s Anthony P. Kirby
There is a terrific sequence when everyone is arrested and forced to spend the night packed in a small prison cell
It is not Capra’s greatest strength but there are some nice composition and character blocking. There is a particularly impressive one just after the 101 minute mark which follows the chaotic court room sequence and captures the somber mood
Capra will hold shots of a character following emotionally charged sequences. There is a particularly strong one at the 103-minute mark following Tony quitting, the camera holds on a contemplating Anthony P. Kirby
A minor complaint but don’t love the title which refers to a scene around the 88 min mark where Martin Vanderhof goes on a tirade on Mr. Kirby
Verdict: HR
Mr. Deeds Goes to Town (1936)
Notes:
Gary Cooper as Longfellow Deeds
Jean Arthur as Babe Bennett
Opens with man named Martin W. Semple driving off cliff to his death followed by newspaper montage as the man was extremely wealthy and his entire $20 million would go to a mystery heir
2:35 welcome to Mandrake Falls Vermont, NYC associations go to find Longfellow Deeds
3:30 amusing interaction with small town man
5:25 revealed that Longfellow Deeds writes poetry for hallmark cards
6:00 Gary Cooper as Longfellow Deeds
7:36 Longfellow Deeds does not seem to care about the $20 million
11:02 frame filled to brim with Longfellow in middle playing the tuba along with a band as town celebrates his departure from Mandrake Falls
14:53 newspaper room with boss bark orders to find interesting story
15:32 Jean Arthur as Babe Bennett as newspaper reporter
21:32 Opera house does not profit, Deeds does not understand why
22:18 Deeds has a boyish excitement upon hearing firetrucks
25:06 Deeds gets physical with slimy lawyer, showing a tough side to go along with the boyishness
26 min Deeds shows mild bashfulness when asked about his preference when it comes to women
27:02 Deeds in dark suit sliding down staircase showing his playfulness and fish out of water
28:08 frame in frames of Deeds outside house in white mist during rainy night
28:48 Babe Bennett walks by and pretends to faint as Longfellow exits house and walks over
29:57 tracking shot through high end restaurant to a shot of Longfellow and Babe eating dinner
33:28 Longfellow and Babe invited to table with famous poet
35:25 Longfellow realizes they invited him to laugh at him
35:45 Longfellow beats up table making fun of him
39:29 Babe is taking the name “Mary Dawson” when she is with Deeds
41:32 Longfellow horrified to learn he got black out drunk the previous night
51:07 several uses of blocking with two-shots of Longfellow and Babe talking on bench
53:28 Longfellow and Babe jump onto fire truck
1:03:00 Longfellow and Babe go on night walk with the characters walking through thick layer of fog
1:06:24 Deeds running through streets at night through the fog
1:10:36 Deeds is shown a newspaper picture of Babe, shocking Deeds
1:12:00 Capra holds medium on a devastated Deeds
1:12:37 split frame with a profile shot of a sad Deeds taking up most of right frame
1:14:40 Deeds confronted by a down on his luck farmer who resents Deeds wealth
1:17:08 newspaper montage on Deeds trying to use his money to help poor farmers and other down on their luck Americans
1:17:47 sweeping overhead tracking shot of huge crowds of people lining up to talk to Deeds
1:18:53 shallow focus shot
1:25:45 nice use of frame in frame with courtroom doors
1:30:14 nice blocking in courtroom scene
1:31:33 profile shot of Deeds in isolation as Babe speaks in court
1:32:30 Babe vehemently defends Deeds in court room scene
1:41:19 Babe in foreground with shallow focus shot as she rushes to the front of the court room
1:42:36 Babe admits to being in love with Deeds
1:43:04 montage of people in courtroom speaking up for Deeds
1:47:00 Deeds speaks up for himself
Thoughts:
Capra is a masterful storyteller, this is such a enjoyable film with a perfect mix of comedy and drama, it’s a great screenplay and has perfect pacing
As a kid I was a big fan of Adam Sandler although the Sandler version of Mr. Deeds (2002) was not one of my favorite Sandler films though I did enjoy it. I actually was not aware it was a remake for years. It should probably go without saying but this version is far superior
Cary Cooper is excellent playing Deeds as a naïve man who is well intentioned. And while he is out of his element as this “fish out of water” character Deeds is actually sharper is a number of scenes than you would initially expect. Cooper does not overdo the bashfulness, making the character more compelling. Jean Arthur is great as well, but this is certainly Cooper’s film. It is easy to see why Adam Sandler was the choice for the modern version as Cooper’s Mr. Deeds has a number of scenes that fit right at home with Sander’s “manchild” persona
The courtroom scene slows the film down, calling it a weakness might be going a bit too far but extended courtroom scenes don’t usually make for great cinema
I like the way Capra fills the frame to the brim with characters in a number of scenes, Capra seems to like doing this to create sense of community between the characters such as when the people of Mandrake Falls are celebrating Deeds leaving town, or the characters defending Deeds in court
The camera lingers on Deeds in a number of scenes when he is highly emotional like when he finds out that Babe was using him (though she later admits to being in love with him), the camera holds on his devastated face
Verdict: HR
It Happened One Night (1934)
Notes:
Opens with Claudette Colbert as Ellie and Walter Connolly as her wealthy father Andrews
The daughter and father have an argument leading to Ellie diving off the boat and swimming away
3:15 Ellie shot in profile
4:43 Clark Gable as Peter Warne makes first appearance in close up taking up right side of frame as his character is hogging the payphone
5:03 Peter is fired from his newspaper job
8:26 Peter and Ellie become acquainted during bus ride
13:36 camera static on Ellie sleeping on bus with her head on Peter’s lap, early foreshadowing
16:10 Peter makes it clear he knows who Ellie is
16:19 newspaper via narrative
17:11 Peter tells off Ellie after she talks down to him
20:00 obnoxious man talks his face off
20:29 cut to a wide angle shot after alternating shots of Peter and Ellie
25:40 Peter reveals he’s a newspaper man and demands the exclusive of Ellie’s trip to New York
26:38 “that’s my whole plot in a nutshell”
30:32 camera cuts back and forth between the towel separating the room into halves and Peter lying in bed with a smile on his face
30:52 Ellie in silhouette
31:15 Capra nicely splits frame via the towel, in this two-shot of Ellie and Peter in the frame but unable to see one another, as they lie in beds inside the cabin
39:49 Peter improvises a convincing performance when detectives enter the cabin looking for Ellie, and manages to get the detectives to leave as they assume they were mistaken
46:25 everyone on the bus is singing the song the flying trapeze, magical cinematic moment
49 min Peter pulls brilliant performance when the obnoxious man from the bus tries to blackmail Peter after recognizing Ellie from the newspaper photo, Peter convinces the man he is actually a mobster and holding the woman for ransom
53:18 Peter carries through the river
58:15 close up two-shot with Peter and Ellie’s faces close enough to kiss but Peter pulls away, followed by Peter putting together makeshift bed in hayfield
1:03:54 Ellie uses her sexual allure by pulling her pant leg up with camera moving in on it as Ellie who is successful in getting car to pull over and give them a ride
1:13:58 towel separating the room in shot similar to earlier scene in the cabin, only now Peter has fallen for Ellie and sounds slightly bitter which is change from cabin scene
1:16:15 cut to Ellie after Peter says “if I could find a girl who was hungry for those things”
1:16:51 Ellie admits to falling for Peter
1:26:06 Peter crosses paths with the vehicle Ellie is travelling next to her father as Ellie believed Peter left her
1:27:11 narrative/exposition via newspaper
1:29:12 contrast of white wedding dress of Ellie and black suit of Ellie’s father
1:34:58 shot on the back of Peter’s head while he sits in a chair with newspapers and liquor bottles filling up most of the framem
1:37:28 Peter rejects any claim to reward money and only will accept reimbursements for expenses
1:38:35 Ellie in white dress surrounded by group of men followed by cut to Peter isolated in Frame
1:41:26 tracking shot as Ellie and her father during wedding ceremony
1:42:32 Ellie runs away just before the official wedding vows and drives off
Thoughts:
After 3 solid films covered in this Study, this is where Capra really hits another level. This is considered to be one of the first and best screwball comedies
The film’s pacing is vital as it takes its time in building the central relationship between Clark Gable’s Peter and Claudette Colbert’s as Ellie. The early scenes set up the story which is a fairly straightforward; you have a wealthy and spoiled woman adult woman who runs away from her controlling father and in doing so crosses paths with an intelligent and confident but somewhat down on his luck reporter. They cannot stand each other at first but gradually an attraction grows
Great editing in scene between 30- and 31-min mark where the sexual tension builds using camera cuts back and forth between the towel separating the room into halves and Peter lying in bed with a smile on his face. This is followed by split frame via the towel, in a two-shot of Ellie and Peter in the frame but unable to see one another, as they lie in beds inside the cabin. This film was released less than a year before the Hays Code official started yet the film uses sexual innuendo, some more subtle than others. There are many scenes involving Ellie eating and demonstrating quite an appetite; this is a common analogy for sexual appetite. An unsubtle example would be Ellie lifting up her pant leg to attract male driver to pick them up
This film is clearly a romantic comedy, but it is also a road film as you have two characters traveling to a specific location. Road trips often work in movies due to their unpredictable and spontaneous nature. Characters in these types of films have to deal with various setbacks and difficult situations. Peter has to improvise in a number of scenes in order to trick/deceive characters; this produces some great comedy and emphasizes the very nature of road films
Around 56 minutes in there is a great scene where Peter creates makeshift beds using hay. The scene lasts several minutes and is very intimate as it captures their isolation. It ends with Capra holding a close up on Ellie’s face with slightly soft focus a she starts seeing Peter as love interest
Capra uses sounds from nature such as crickets during the makeshift hay scene or birds chirping in the morning in the hitchhiking scene
The lead performances are excellent. While the personality differences are not as extreme as those of the leads in Bringing Up Baby (1938) they are still significant
There is some narrative/exposition via newspaper headlines; I always love this for some reason
The film is set in the dead center of the Great Depression and there are a number of references to the hard times the country was experiencing. While the film is not social realism, these references are mainly used to highlight how out of touch Ellie is with the hardships of average Americans. There is a great tracking shot shortly after the 34 min mark where Ellie walks past several families to the outside shower, this scene works in highlighting how Ellie is not used to dealing with these everyday situations
Verdict: MP/MS
@James Trapp – “The film’s pacing is vital” – indeed
@Drake – funny enough I saw Manhattan Melodrama (1934) within the last week. I am still a relative newbie in regards to Clark Gable but love his performances in both films
The Bitter Tea of General Yen (1933)
Notes:
Opens with map of China followed by dissolve and then lettering “Shanghai” with shots of violence in the streets, this is set in the 1920s during the Chinese Civil War
2:20 great blocking with line of Chinese singers on left side of frame preparing for wedding ceremony
4:24 rapid pan from American talking about his history in China to shot of Chinese man
4:57 Barbara Stanwyck as Megan Davis, an American visiting China, she is shocked upon witnessing a death in the street
10:35 layered and symmetrical composition with characters in multiple fields of depths
13:27 dissolve used to translate Yen’s note from Chinese to English
16:07 high contrast lighting with character in foreground shown in silhouette shooting at soldiers
17:46 violence in the streets captured with frequent cuts and sound effects
19:11 great series of dissolves with Stanwyck’s face shown asleep with images superimposed over
20:00 low angle shot of Mah-Li (played by Toshia Mori) offering tea to Stanwyck’s character as she wakes up slightly confused
26:17 Stanwyck wakes up in bed is luxurious room
26:49 Stanwyck shocked by violence in courtyard below which is in back of right side of frame
32:17 wide angle shot inside Yen’s bedroom
33:00 Mah-Li used as messenger between Stanwyck and General Yen
34:40 Chinese lanterns throughout frame with nice using of framing via plants
35:20 another dream sequence using superimposed images
35:47 canted angle and dissolves used in dream/nightmare
36:36 dizzying 360 camera movement
39:57 General Yen and Stanwyck have conversation about cultural differences
47:01 at dinner table there is an empty chair that people toast as the chair represents General Yen’s wife who “does not exist…yet”
48:08 Stanwyck framed by candles flanking her on both sides at the dinner table
54:46 two shots in symmetrical shot in dim light
55:28 profile shot of Mah-Li
1:05:05 multiple depths of field and frames
1:05:55 frames in frames
1:17:48 close up on Stanwyck’s face as Yen comforts her
1:22:13 Stanwyck’s outfit is literally sparkling as she vows to never leave
1:25:17 Stanwyck on her way out after poisoning Yen
Thoughts:
This is an odd film, but I don’t say that as an insult, it is interesting with the cultural clash and unclear love story. Unsurprisingly, it was controversial for its time due to the romance between a white woman and an Asian man, although he was actually played by white Swedish actor Nils Asther
There is a psychedelic dream sequence which uses canted angles, super imposed imagery, dissolves, and foreboding music as Barbara Stanwyck’s Megan backs away in terror as an alteration of General Yen stalks her like a sexual predator before changing personas into an honorable white knight type
Amazingly this is only the 3rd Barbara Stanwyck film I have seen aside from her all-timer of a performance in Double Indemnity (1944) and a fine performance in Robert Siodmak’s The File on Thelma Jordon (1950), a solid but unspectacular film
There is a fair amount of high contrast lighting with several shots looking like film noir. Several of these involve two shots of Stanwyck and Toshia Mori’s character
The story loses some steam in the 2nd half after the intrigue of the strange relationship between Stanwyck and Yen wears down a little
Verdict: R
Lady for a Day (1933)
Notes:
Opens in streets of New York City with older woman named Apple Annie (May Robson)
2:38 blonde woman singing in foreground with chorus girls and jazz band in the background
9:40 Annie drinking straight from bottle in her apartment
10:18 POV of young woman later determined to be estranged daughter Louise (Jean Parker)
14:40 tracking shot through hotel
17:00 Annie makes a scene at the hotel while she tries to get a letter from Louise
18:24 Annie stands in place on a busy sidewalk in the street, the audio cuts and sound resembling heavy winds accentuates Annie’s increasingly distraught state of mind
20:30 police take Annie out of hotel
23:03 revealed that Annie has been lying to her daughter by claiming that Annie is actually a high society woman named Mrs. E. Worthington Manville. She learns that Louise is sailing to New York with her fiancé Carlos (Barry Norton) and his father, Count Romero (Walter Connolly)
31:50 Annie actually looks like a lady
34:09 beautiful composition at pool hall with multiple frames in frames and character in multiple depths of field
40:40 frame filled up and uses frame in frames as the boat arrives
42:20 shot reverse shot between Annie and Louise seeing each other for the first time
48:25 silhouette used for character in foreground with back to camera
51:19 nice frame in frame and wall in the foreground in shot similar to the one in Platinum Blonde (1931) around the 27 min mark which also uses using glass outdoor fountain in the foreground distorting the image
55:00 Count Romero is suspicious of Annie as he cannot collaborate with her life story and wants Carlos to hold off on wedding to Annie’s daughter Louise
56:15 great blocking in this excellent composition
1:05:00 rehearsal for the wedding, all in the name of continuing the charade
1:08:28 police suspicious of Dave the Dude (Warren William), a gambling gangster who is friends with Annie resulting in the officers superior ordering full surveillance on the activities of Dave the Dude as they are mistaken on the actual nature of the events taking place
1:16:56 great blocking throughout this sequence with line of police officers standing outside of Missouri’s Club as they are suspiciously watching Dave the Dude
1:20:30 Count Romero nervously paces around room by himself
1:26:53 nice use of blocking as disappointed characters fills the frame
1:33:35 shot of NYC at night lit up
Thoughts:
A highly enjoyable film with a solid screenplay. The premise involves a down on her luck older woman named Annie has been lying to her estranged daughter via letters as she leads her daughter Louise to be she is a high society woman. Annie discovers Louise is planning to come to NYC to get married, so Annie seeks out friends including a low-level gangster
There is some effective suspense as Capra aligns the audience with Annie’s concerns and attempts to convince her daughter Louise, her fiancé Carlos, and father-in-law Count Romero of this charade
There is a standout scene around the 18 min mark where Annie stands in place on a busy sidewalk in the street, the audio cuts and sound resembling heavy winds accentuates Annie’s increasingly distraught state of mind
There is a stunning shot around the 34 min mark at a pool hall with multiple frames in frames and characters in multiple depths of field
Capra packs the frame to the brim with characters in multiple scenes. There are some impressive compositions using blocking and frames in frames. These scenes give the film a sort of charming element; Annie might not have traditional family or high society friends but there is a sense of community even if it is in the name of maintaining a charade
Verdict: R
Platinum Blonde (1931)
Notes:
Loretta Young as Gallagher
Jean Harlow as Anne Schuyler
Robert Williams as Stew Smith
Boxy 1.33 to 1 aspect ratio
The film opens inside a newspaper room
1:56 camera moves through room and around artificial wall where Stew entertains Gallagher
4:18 gated mansion that is the Schuyler House
5:15 Jean Harlow as Anne Schuyler, a young attractive woman in her early 20s
12:44 Anne asks Stew not to report story about her playboy brother Michael Schuyler
14:37 Stew reneges on promise and on phone to newspaper confirms the story about Michael to be true to the annoyance of the family
18:40 nice use of doorway frame in frame with grand staircase in background
20:25 reverse tracking shot as Stew follows Anne into the library
24:16 nice blocking as Anne’s mother enters the library with Stew standing over Anne
26:01 nice tracking shot into party room
26:24 silhouette characters in foreground of layered frame
27:17 silhouette Anne and Stew kissing in romantic setting with frame in frame using glass outdoor fountain in the foreground distorting the image
29:33 newspaper “Anne Schuyler elopes with reporter”
35:05 “a bird in a gilded cage” Stew’s boss doesn’t Stew’s marriage to Anne seriously
39:20 Anne’s family is unhappy with the marriage although Michael is nice to him
43:39 Actual bird with gilded cage placed by the butler/valet named Dawson in Stew’s room
49:30 Stew’s co-workers teasing him
50:07 split frame with Gallagher entering the Schuyler House during social event with right side of characters in background of the frame on the right side
51:23 formal dance with characters surrounding exterior of frame
54:26 Anne is cold to Stew’s friend Gallagher for no reason other than she’s an attractive woman
58:42 Stew punches man after being insulted
59:50 newspaper article headline captures Stew punching the man last night
1:00:52 high angle shot capturing checkered floor
1:05:28 argument between Anne and Stew
1:06:12 high angle shot with Stew walking and starting to act out on the checkered floor in the house by himself, Stew starting to go crazy yelling to hear his own echo
1:12:48 Stew invites Gallagher over who shows up with her friend Hank and a large group of rowdy bar patrons who enter the Schuyler House
1:15:55 Gallagher and Stew talk about the play Stew has always talked about
1:19:00 Anne and her family are shocked when they return to see all the people in their house
1:19:46 Anne walks into the room creating a literal triangle composition with Anne in the background and Stew and Gallagher in the foreground
1:25:45 Stew rejects offer of alimony payments from Anne (through the family lawyer)
The film ends with Stew and Gallagher spending time together making it clear they are getting together as they talk about Stew’s play
Thoughts:
First film of the study is an enjoyable romantic comedy starring Jean Harlow. The premise is quite simple, a newspaper man name Stew becomes involved with a girl named Anne with a rich family. The two of them get married and Stew starts getting used to his new life of money and privilege but his lower-class roots clash with the family
Most of the cinematic high points occur nice stretch from about the 20 min and 27 min mark as you have a reverse tracking shot as Stew follows Anne into the library and then into the party
There are a few beautiful compositions which use silhouette imagery. The best shot of the film occurs at 27:17 where you have the silhouette image of Anne and Stew kissing in romantic setting with frame in frame using glass outdoor fountain in the foreground distorting the image
There are some effective high angle shots showing Stew walking around the mansion by himself yelling so he can hear his own echo. There are several shots that use negative space to emphasize the size of the mansion
The performances are solid, Robert Williams as Stew Smith is probably the best. The film largely focuses on his dilemma between living a life of comfort but under constraints or living modestly but having complete freedom. There’s a heavy-handed reference to a metaphor of a “bird in a gilded cage” and then later an actual bird in a gilded cage is placed into Stew’s room by the family’s butler named Smythe. It is so heavy handed that it actually works as comedy
The film mainly succeeds what it is going for, a light hearted romantic comedy
Verdict: R
Drake,
I noticed Arsenic and Old Lace (1944) is on Criterion’s list of upcoming release’s, I am curious as to how many times you’ve seen? HR is obviously strong priase but curius if you think it could rank higher
@James Trapp- I think three times. I don’t think it will blow your hair back- but I would be surprised if you didn’t like it.
@Drake – I figured that looking at the reviews but curious as to what you thought. I only watched Bringing Up Baby (1938) for the 1st time recently. Before I had only seen Grant in Hitchcock films so I’m excited to check this one out.
@James Trapp- Grant is certainly a talented comedian and that is on full display here
@Drake – good enough for me, excited to check it out
My ranking of Capra`s films that I`ve seen:
1. It`s a Wonderful Life MP
2. It Happened One Night MP
3. Mr. Smith Goes to Washington MS
4. Lost Horizon MS
5. Mr. Deeds Goes to Town HR/MS
6. Arsenic and Old Lace HR
7. You Can`t Take It with You HR
8. Meet John Doe R
9. The Bitter Tea of General Yen R
10 Best Performances:
1. Stewart- It`s a Wonderful Life
2. Gable- It Happened One Night
3. Stewart- Mr. Smith Goes to Washington
4. Colbert- It Happened One Night
5. Cooper- Mr. Deeds Goes to Town
6. Grant- Arsenic and Old Lace
7. Donna Reed- It`s a Wonderful Life
8. Lionel Barrymore- It`s a Wonderful Life
9. Claude Rains- Mr. Smith Goes to Washington
10. Jean Arthur- Mr. Smith Goes to Washington
Amazing director. So many classics. 3-time Oscar winner. A top 10 indeed.
@Godfrey of Bouillon– thanks for visiting the site and the comment on the page. Capra made a lot of classics- agreed! A great director. Are you saying he should be a top 10 all-time director? If so- which one would you move down to make a spot for Capra?
Hitchcock, Kubrick, Bergman, Ozu, Fellini, Scorsese, Coppola, Tarkovsky, Welles or Ford?