--- Spoilers below ---
B, while I agree with artihcus022, I think that's only part of the answer. It's important to look at this 1939 film in terms of when it was made, where it was produced and the incredible social and political turbulence shaking the world at that time.
This film portrays the U.S. Senate as siding almost completely, and most naively, with the Paine/Taylor lies, throwing in three bought-out U.S. Congressmen as well. Early in the film, Taylor's man was roundly attacked by the governor's constituents: "No! He's Taylor's man. He's Taylor's stooge!" The choice of Smith, a hero of the governor's children, was completely by chance, the slimmest of chances – the edge of a coin.
Later, Smith was about to be voted from the Senate; Saunders' risky "Let him speak!" and the Senate President's response, "This chair recognizes ... Senator Smith," allowed him to filibuster. Otherwise, it's probably a prison term for Jeff Smith, accused of stealing "the nickels and dimes of boys."
By painting Smith as a thief, Paine/Taylor hoped to ensure the junior senator's removal, the installation of Miller as the stooge senator, passage of the relief bill, and graft ever after. Instead, Smith's moving speech leaves the disgraced Paine trying to kill himself, missing, and ultimately admitting to the misdeeds.
Capra, in fact, closes the film with an image of Paine's fellow senators still stubbornly refusing to accept The Silver Knight's wrongdoing. Their unbelieving shouts of "No! No!" are the proof. Capra then drowns their cries with a raucous celebration in the gallery, witnessed by, as we're told earlier, dictators who've "come to see what they can't see at home, democracy in action."
This was also the last English/American film shown in France prior to the German occupation in 1942 – a beacon, thought some patriotic theater-owners, of democracy. In the United States, it was denounced by Senate Majority Leader Alben Barkley, a Democrat from Kentucky. Others among the nearly 300 U.S. Congressmen and Senators in attendance at an October 1939 screening were, to be fair, far more generous. Many weren't.
I think Capra and his cast pitched a film that's anything but "Capracorn," one of the tags used to peg the Oscar-winning director's films as schmaltz. They're not.
This one, like the terrific near-miss "Meet John Doe," depicts great political and social struggle. To this day, "Mr. Smith Goes to Washington" really is quite a radical film – complete with use of force, but only when necessary, of course, on peaceful marchers, dissenting children, and, from the fist of Smith himself, members of the press – that demands another look as a still-accurate, useful mirror for the early 21st century.
Jerry Liptak
reply
share