About 15 or twenty years ago MEET JOHN DOE aired on a saturday matinee program on the CBC. I watched it and absolutely loved it. In the ensuing two decades I have Studied Film History and the art of film making. I have debated Film Theory and criticisum with some of the country's most film-smart people and have worked extensively in the film industry. And very rarely through all of this was Meet John Doe mentioned. The other day I saw A copy of the film in a used video store, remembered it from my youth and promptly bought it. And after viewing it again I have to say it is definetly one of the finest motion-pictures I have ever seen. It has to be one of the most under-rated movies ever made. The social commentary exhibeted is one of the boldest that the medium has ever presented, especially considering the time it was made. A time when media propaganda was a driving force for home-shore morale at the beginning of WWII. Capra and langs techniques in this work are absoloutly astounding. The riot scene should be looked upon as ground breaking. The performances (both the lead and supporting) are among some of the finest and most endearing of the time. Needless to say I'm going to be toot this films horn for quite some time. (I think I'll go watch it again.)

City hall wouldn't be my choice as where to jump off a roof on Christmas Eve. A highly guarded tower in mid Manhattan would be my choice if I was inclined to do something like that. A big wealthy blowhard proves that corruption is king, and with political ambitions decides to run for President. But it's not quite time for the Antichrist to take over, and no amount of journalistic manipulation will change that, whether it's through social media or their own newspaper. Edward Arnold is the ruthless D.B. Norton whose obsession with power causes him to take over a dying newspaper, turning it around with sensation, but underestimating the power of the people: the real people. That's where the stars of this Frank Capra classic comes in, them being fired journalist Barbara Stanwyck and jobless baseball player Gary Cooper, hired by rehired Stanwyck and editor James Gleason to represent the average American man who will fulfill Stanwyck's column to represent the man who intends to jump off the roof on Christmas eve.

There's been constant discussion over this film for its message and especially over its conclusion. It's a masterpiece in many ways, certainly nor flawless, and exceptionally well acted. It's a reunion for Capra and Stanwyck, their first together in 8 years, coming at the height of her popularity, with three classics in one year, and one of two she starred in that year with Cooper. Stanwyck is feminine but tough, no namby pamby broad, ruthless in her ambitions, and yet with a strong ethical code that the promise of a ton of cash cannot buy. Cooper continues his continuation of the all American hero.

Supporting the two are imperious Arnold, wise cracking Gleason, and ornery Walter Brennan, giving his all as Cooper's sidekick. Spring Byington, Regis Toomey, Sterling Holloway and Gene Lockhart are secondary players who stand out amongst the usual assortment of Capra's regular ensemble players. It dies get a bit corny at times, but there are many moments that are really truth telling and honest. It's a movie that still provides hope in a difficult time and reminds us who really is running the show. Even in the most difficult times, it will be the real people who "trump" the tyrants.

Director Frank Capra lays it on pretty thick here, with a message combining the love of one's fellow man, the need to defend America's freedoms, and the power of common people to stand up to the rich and powerful when they band together and act out of decency and truth. This is a film filled with big idealistic speeches and moments meant to stir the heart. Capra knew that the democracy faced threats all over the globe as WWII loomed, but also that America, like any other country, faced threats within, that it was possible that an authoritarian may rise to power here by exploiting the masses, and controlling the media. This was a real possibility in the 1940's, and of course, is still relevant today.

It's very telling that at the beginning of the movie, a newspaper is being taken over by a rich industrialist, who wants to stimulate circulation at any cost. The plaque outside the building reading "A free press means free people" is chiseled away, and replaced with one reading "A streamlined newspaper for a streamlined age." When a plucky young reporter (Barbara Stanwyck) keeps her job only by writing a fake letter from a John Doe, we're at first led to believe that the deception is for the better, because she uses the resulting column to push altruistic messages extracted from her late father's old writing. She and the newspaper editor (James Gleason) hire a local vagrant (Gary Cooper) to play the part of John Doe, and the message expands and catches on, so much so that 'John Doe Clubs' are being formed all over the country.

The message they push is one against all sorts of ills: the collapse of decency, corruption in local politics, graft in state relief, and hospitals shutting their doors to the needy. The idea is that if people could live up to Christian ideals all year round, rather than just at Christmas-time, that if they could simply 'love thy neighbor' and exercise tolerance for one another, they would not only feel better about life, but it would solve some of society's problems. All seems well, but lurking is the rich industrialist (Edward Arnold) funding the whole thing, initially for what seems to be the common good, but sure enough, he has ulterior motives. Thus, love your fellow man, but beware those seeking to control you. And for all his optimism and faith in man, Capra knew that a mob whipped into a frenzy was dangerous, and there are some dark elements in the film.

Edward Arnold is brilliant as the industrialist, and Gleason is excellent as the editor. The two of them turn in great performances in their supporting roles, with Gleason's speech while drunk ("Yep, I'm a sucker for this country...") is one of the film's strongest. He extols the idea that the freedoms enjoyed in America to speak and live freely were important, and far preferable to the totalitarian governments at both ends of the political spectrum in the world (e.g. Fascist Germany and the Communist Soviet Union). If that sounds like a nationalistic message it is, but it was appropriate for the period, and more than balanced out by the socialist and anti-materialistic messages.

Barbara Stanwyck is a delight to watch as always, and 1941 was a fantastic here for her ('Ball of Fire', also with Cooper, and 'The Lady Eve' came out that year). She's a wee melodramatic in the film's final scene though. Gary Cooper is just average in playing the bumbling everyman, and not as strong as Jimmy Stewart in similar roles for Capra. He is awkward and wide-eyed too often, especially early in the film. On the other hand, he shows a little bit of a devilish side in his subconscious, describing a dream of spanking Stanwyck at length (a scene which is a little odd). His best exchange with Stanwyck occurs when he senses she's also corrupt, and asks her "Did you write this?", referring to his next speech, she confesses yes but "I had no idea what was going on", and he pushes past her, remarking "That's a swell bracelet you're wearing," noticing the expensive gift she's received. He then proceeds to stand up to a group of powerful men, speaking for the little guy ("I'm just a mug and I know it. But I'm beginning to understand a lot of things. Why your types are as old as history. If you can't lay your dirty fingers on a decent idea, and twist it and squeeze it and stuff it into your own pocket, you slap it down! Like dogs! If you can't eat something you bury it!")

If it's not already apparent, if you're cynical by nature, this is probably not the film for you. And, I have to say, Capra uses just a teensy bit too much of a heavy hand here, among other things likening John Doe to Jesus Christ (you know, that other great socialist who preached love and tolerance). However, he also has brilliant moments when he lets everything linger, such as when the crowd is disillusioned and wonders who is telling them the truth. That moment is simply spellbinding. Solid film, with wonderful messages.