Kid Galahad (1937)

Thugs With Dirty Mugs

The plot of Kid Galahad is routine fare in this gangster/sports picture but is executed with the top-notch craftsmanship. With Michael Curtiz directing (complete with one of his trademark shadows) and three cinematic icons carrying the picture, you know you’re in safe hands. Kid Galahad is one of the better early attempts to capture boxing in a film, there’s no sped-up footage although the fight scenes are quickly edited and the knockout during the titular character’s first fight occurs off-screen. It wasn’t until Gentleman Jim that cinematic boxing was filmed to a more realistic degree.

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Edward G. Robinson and Humphrey Bogart would play foes a total of five times, with Bogart getting the short end of the stick in four out of five of these pictures. In these pairings Robinson would play the redemptive character while Bogart would be a plain old scumbag. There’s a fun rivalry dynamic with the two as competing boxing managers but along with their other pairings, this is by no means a complex role for Bogart. His part as the not so threateningly named Turkey Morgan is a two-dimensional bad guy but with Bogart, it’s no less engaging. Likewise, I much prefer this more endearing and playful Bette Davis to high end, sophisticated melodrama Bette Davis she would go onto to portray starting with Jezebel. I also have to ask where the studio trying to make a sex symbol out of Davis in this film? I can’t recall another film in which she exposed this much skin.

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“You think you’re cute? You’re pants are too long to be that cute.”

Kid Galahad was made three years into the production code and it is interesting to consider how gangster films from this late 30’s period would have differed had they been made a few years earlier. The aesthetics are much cleaner than if the movie had come out during the code but more significantly is the film’s moral content. Although a gangster picture, Kid Galahad is somewhat of a Middle America morality tale. The film highlights a clear divide between the urban world of the mob and its lavish parties to the innocent and simple world of the countryside. Despite his path in life, Nick (Edward G. Robinson) tries to keep his sister ( a much more wholesome relationship than that featured in Scarface) and mother far away from gangsters (or mugs as he calls them) by housing his mother in the country and sending his sister away to a convent. Even the boy-scout bellhop turned prizefighter (Wayne Morris) desires to become a farmer when he leaves the prizefighting world behind. I suspect much of this stems an effort to disown the gangster lifestyle in favour of a more conservative one to fall in line with the production code.

Mr Smith Goes to Washington (1939)

Life, Liberty and the Pursuit of Happiness

***This Review Contains Spoilers***

If anyone asks me why James Stewart is my favourite actor I just say watch the final scene of Mr Smith Goes to Washington. The final scene of this movie is simply of the greatest things I have ever witnessed in any film ever. That may sound like a hyperbole but I’ll never forget the very exact feeling of goosebumps I had when first watching it. Mr Smith Goes to Washington is one of a small handful of films I would call life-changing, one of the films which helped to mold the way I think and ultimately turn me into the person I am today. It encouraged me to be more skeptical, not to believe everything you here and stand for what you believe despite great opposition. It’s thanks to films like these why cinema is my bible. As much however as Capra is criticised for his films being overly idealist, Mr Smith Goes to Washington does not exactly paint the most glowing picture of the American political system. To quote Thomas Paine (Claude Raines), “The duty of a true patriot is to protect his country from its government”.

One of my favourite scenes in Mr Smith is that in which Clarissa Saunders (Jean Arthur) attempt to explain to Jefferson Smith (James Stewart) the entire procedure of creating a bill and submitting it to Congress. For starters, the scene is incredibly funny with the comedic timing and Stewart’s childlike reactions. Secondly, it’s a very informative civics lesson and thirdly, this scene shows us how Jefferson Smith acts of the film’s ambassador the for the average Joe watching film who’s just as confounded by Sauder’s lecture as Smith is. The scene lays out in an entertaining manner the political hoo-ha for the politically lay; my knowledge on politics was very limited when I first watched Mr Smith Goes to Washington but that wasn’t a barrier to being engrossed in the film’s state of affairs.

This is as good an opportunity as any to raise the question, why is Jean Arthur such a forgotten actress? Despite working with several big-name directors, co-starring with famous actors and appearing in a number of beloved classics, her presence is incredibly overlooked as the definitive urbanite career woman with her wit, warmth, and innocence. Also, that voice! Her role as Saunders is the opposite of Mr Smith. She is cynical, jaded and knows the ins and outs of the system with its corruption and cronyism. It takes Smith, the Americaphille who appears to know more about American history than the people working in Washington to restore faith in her with his childlike optimism and perseverance.

Along with the attack on the American political system, Mr Smith Goes to Washington is just as harsh with its portrayal of the press as a pack of ravenous vultures. The scene in which Smith confronts the reporters in a bar is truly shocking as they flat up tell him about their lack of journalistic ethics as reality hits Smith like a ton of bricks (also among the crowd of reporters if Jack Carson, always a scene-stealer). I just have to question the morals on the part of Smith prior to this scene in which he literally goes around punching reporters in the face although it could be argued this was more of a social norm back then between men.

Another striking monologue is that in which Smith’s mentor Thomas Paine justifies corruption as a comprise in order to achieve good deeds, a process which has existed since the birth democracy as he puts it. As convincing as he might sound at first, through the course of the film you can tell he’s a man who knows he’s sold out on is ideals partially from the complete look of shame which bestows Claude Rains’ face. Even at the beginning of the film just look at the reaction of Paine’s face when Smith declares “Dad used to tell me Joe Paine was the finest man there ever was”.

The relationship between Paine and the business mogul James Taylor (Edward Arnold) is like that of The Emperor and Darth Vader. Taylor hovers above Paine only for his conscious to be put to the ultimate test by the end of the film. Taylor’s ability to control the media of Smith’s home state and preventing any of his words from the Senate reaching the state is frightening. I can just be glad that in the age of the internet and mass communication that such control of the narrative isn’t as easy as it once was.

Mr Smith Goes to Washington is very snappy and faced paced; with the culmination of some of Hollywood’s finest character, acting talent helps carry the exposition in an entertaining and at times screwball like manner. The final 30 minutes of the film in which Smith filibusters is one of the greatest things ever caught on celluloid with its immense hair-raising build up to an exhausted, out of breath James Stewart declaring that he will fight for this lost cause, even if this room gets filled with lies like these!

Like other political films to arise from classic Hollywood, no party is mentioned during the film nor do we know what state Smith is from and which he fights so hard for. Those on the modern right could see Mr Smith as a little guy standing up against big government and the Washington elites. By contrast, those on the left can view Smith as a rebel fighting against corporate, capitalist fat cats like James Taylor. Independents could see Smith as someone who stood alone without backing from any party to fight for his beliefs. Like many of Capra’s films, Mr Smith Goes to Washington is hard to place on the political spectrum. Anyone can see what they want to within the film which is part of its enduring power.  Really, if I ever met someone in elected office, I will be asking them if they have seen this film. Mr Capra and Mr Stewart, thank you for this film.