by Reid Williams
With Christmas just having passed us by, as well as another massive and tumultuous election cycle, it may seem to be an odd time for me to recommend a Frank Capra directed Jimmy Stewart vehicle centered around politics. However, I would argue that there’s no better time to expose people to the magic that this pairing created seven years before their Christmas time classic: It’s a Wonderful Life. To put my most controversial opinion surrounding this month’s selection right at the start: I think that the focus of this article’s discussion is a superior film.
Mr. Smith Goes to Washington was originally planned by Frank Capra to be a sequel to Mr. Deeds Goes to Town, with Gary Cooper returning for the starring role. However, when the studio was not able to secure Cooper, they turned to another actor who had previously worked with Capra: Jimmy Stewart. The role gave Stewart his first Oscar nomination and launched him to meteoric stardom, which would culminate in him becoming one of America’s greatest screen legends.
Before moving on to spoiler territory, I want to make a case for anyone who has not seen this film to move it to the top of their watch lists. In a world where politics is incredibly frustrating and divisive, Capra’s habit of clashing idealism and realism is utterly refreshing. Capra mentions no political parties whatsoever, in order to make the film less about politics and more about ideals. As mentioned earlier, Stewart gives a phenomenal performance as the naive Jefferson Smith, and is joined by a cast of memorable characters played by Jean Arthur, the always fantastic Claude Rains, and a host of others, making this one of the best-acted films I’ve seen. Finally, it captures the magic of the seen-by-everyone Wonderful Life in a way that doesn’t restrict it to late-December viewings. See it, and you’ll know exactly what I mean.
With all of that said, I want to move more into why I love this movie so much without the burden of spoilers on my conscience, so here is my official Spoiler Warning.
The central drama of this story is ultimately a triumph of the human spirit. Our protagonist, Smith, is beaten and bruised from every side, even betrayed by the people that he trusted. However, with the help of his secretary, Saunders (more on her shortly), he is able to triumph over immense odds and a political machine that seems to hold every advantage. The venerable Jim Taylor seems to have every corner covered, best shown in the fantastic montage sequences showing the defeat of Smith in court as well as the silencing of the “pro-Smith” news outlets. As a viewer, one can’t help but feel righteous indignation at the opposition Smith faces, but the ultimate refusal to give up is what makes Smith one of the great screen heroes of all time.
The all culminates in the final scene, where the battle climactically is won on multiple fronts. After facing another overwhelming wave of opposition, this time in the form of letters from his never-defined state, Smith once again triumphs in his heart, resolving to stand firm in his ever-draining filibuster, which leads him to faint. However, another victory occurs in the heart of the man that Smith begins the movie trusting: Joseph Paine. The elder senator who had essentially sold his ideals for money and security is slowly won over by the heart of Smith and his resolution in the face of opposition, finally confessing that Smith is right in front of the entire Senate, including the newspapermen. The simultaneous victories are euphoric for a viewer, to the point where I always have to fight the urge to stand up and cheer.
The obvious idealism in many of Capra’s films (this one included) has caused many to label him as overly sentimental. However, after watching a good number of his films, I believe that this write-off is overly simplistic. Capra’s films always seem to acknowledge the grim reality that people face every day. Whether this is corruption, loss, or some other hardship, it is rare to find a Capra film that doesn’t confront some sort of serious issue (with the possible exception of It Happened One Night, a light-hearted screwball comedy). However, what makes Capra films different is his obvious belief that ideals should not be cast aside just because they do not seem to be working. It is obvious that, to Capra, ideals are worth fighting for, even if we live in a far less than ideal world. While some may smirk condescendingly at Capra’s strongly positive themes put forth in his films, I believe that, especially today, this makes his films feel like a breath of fresh air. It is always a special feeling to me when I finish a movie wanting to be a better person that I have been before, and Capra’s work regularly gives me that feeling. There is no better example of that than Mr. Smith Goes to Washington.
To add to all of this, this film contains one of my favorite screen romances of all time. I find it to be fantastically original, even today. Saunders is clearly the more adept member of the partnership, bittered by years of Washington politics. However, she is slowly won over by Smith’s optimism and sincerity, something that she sees none of anywhere else. This is also not just a romance that is tacked onto a film for good measure but is essential to the plot. Smith is entirely lost without Saunders, even well into the extended senate finale. Their attraction to each other is not based merely on physical appearances but is a true partnership wherein they discovered how much they admire the other. Also, the bit about Saunders’ first name is very subtle and very sweet, making me smile every time.
As has already been alluded to, one thing that makes this movie so special is that it is ultimately a battle for the souls of three people: Smith, Saunders, and Paine. Smith struggles to maintain his ideals in the face of unrelenting opposition. Saunders is soured on the Washington games and only sticks around for money but is shocked when she finds actual decency in Washington. Paine is clearly conflicted as soon as he is reminded of his past and attempts to hold onto his cynicism but is ultimately unable because of the passion he sees in Smith. The way the arcs collide and build off of each other is magnificent to watch and creates a truly special experience.
On top of all of the thematic and dramatic expertise, the script is also full of classic Hollywood dialogue, with one-liners and witty banter to spare. No one does better with this than Jean Arthur, always coming across as the smartest person in the room and never without a quick retort to anyone who would question her. The always-brilliant Claude Rains also deals out his fair share of wit, endearing himself to the audience in spite of his immoral actions. As a sucker for old-Hollywood dialogue, that is the ultimate icing on the cake for me.
I’d be remiss if I completed this review without giving some particular attention to one of my favorite screen actors of all time: Jimmy Stewart. While I’m not sold on calling this his greatest performance (Anatomy of a Murder would like to have a word), he is no doubt a powerhouse in this film. Stewart’s natural charm and demeanor matched perfectly with Capra’s big-hearted sentimentality, which is what made them such a fantastic team. Stewart brings Jefferson Smith to life in a way that no other actor could have, balancing ferocious sincerity with naivete in a way that only he could. The final senate filibuster is a tour-de-force, with Stewart portraying the agony and resolve that battle within Smith without saying a word. It is truly one of the greatest performances of all time.
All of these elements and more combine to make Mr. Smith one of the greatest film experiences I’ve ever had, and one that I think anyone could enjoy, even 80 years after its release.