This world needs this measly, one-horse film if only to have someplace where people can come without crawling to jaded, cynical hard-heartedness and despair

Rating: 9/10 (7 February 2006)

By Stephen Thanabalan
In a George Bailey-esquire manner of speech, I say: "This world needs this measly, one-horse film if only to have someplace where people can come without crawling to jaded, cynical hard-heartedness and despair." And that's not sentimental hogwash.
Frank Capra's 1946 initial RKO Pictures box office flop really has become a must see film, might well change one's outlook on how valuable a man's life really is, and is a wonderful story about how important our lives can be, with the blend of human tribulations, angels, and God- bringing faith, and an endearingly effervescent message of putting others beyond oneself that still resonates after exactly 60 years.
Polished as a both moving character study of one man's life story (like Citizen Kane), as well an overwhelming combination of emotional reality that will gently tug at your heartstrings, what makes this film stand the test of time and remain uplifting is that it celebrates triumphantly that 'NO MAN is a failure who has friends.' It then wraps this in a most touchingly dramatic story that at times veers into borderline 'noir' about the trials and unrequited dreams of a common man's life, with believable main characters instead of outlandish heroes, dealing with the harsh realities of giving up Anchor chains, plane motors, and train whistles for commitment and love, and exploring the psyche of a human's grasp of the meaning of life.
Yet, the greatest aspect of this plot about George Bailey (played by James Stewart with relish, sincerity and an emotional range of characterization that will enthrall), is that it does not drivel to get to its climax- of Heaven sending a guardian angel, Clarence (it helped that Travers seemed like a Disney fantasy character) to goad him to appreciate on reflection, his wonderful life as a result of being given the chance of looking at an alternate universe if he didn't exist (in a fantastic sci-fi twist). Instead, it takes the viewer on an enchanting journey of the protagonist's life in order to allow one to feel his pains (father's stroke, Building & Loan payouts, Mr Potter's insults); romance (with beautiful wife Donna Reed complete with Charleston dances and a humble dilapidated house); share his disappointments (contrasts with Sam Wainwright and Harry); and understand why eventually having to come to the crossroads in facing the insecurities and issues of having believed he had wasted potential, he was willing to choose oblivion rather than existence. Most effective of all, whilst weaving the tale in lovely cinematography, it crosses the various eras that audiences all identify with (Depression, War), helping it strike chords all over.
Stewart's and Capra's favorite, this film boasts some incredibly emotional scenes that linger in film history, including the best one-take embrace scene by the telephone (Rob Reiner cries watching it every time!). The Casting (even Billy & the Raven) was magnificent: the otherwise unknown Reed has a chemistry with Stewart that conveyed a love of the purest kind that really epitomized that George didn't need to build airfields to have been a hero to the ones who mattered in his life, that he'd, albeit unwontedly, already lassoed the moon.
The main qualms with the show lie mostly with people upset at its moral/religious tones due to unrescinding belief that no such good character exists, exacerbated by the fact that its rerun prior to Christmas engenders a huge misconception that it is a festive movie per se (giving it some innuendoes that are as boring to hear as the perpetrators claiming the very film supposedly is). It is cynical ignorance neither to contextualize this film nor to even bother to understand the purpose, approach and point of this film without even the slightest vestige of educating oneself about what this film stands for. Some critics have not even watched it in its entirety! A cyclical corollary of finding it boring in the first place- disconcertingly hypocritical!
Now, critiques of its kitsch over the top 'Capra-Corn' Americana or even its 'subversive' political agendas bearing the peasant class and their feudal overlords may find their cases warranted to some degree. Even so, in the end, these critics are actually forgetting the deal. Who cares if Stewart's character reeks of being a democrat? That's missing the dish!! Why? Well, to find out you've got to discover the film's purpose.
Capra wanted to blaze positivity when he released this right after traumatic WWII (using his new soul-searching company aptly called 'Liberty Films') in an upheaval climate of fear and anxiety to discuss life and meaning out of hardship. Themes of commitment, hope, ambition, depression, loneliness, loyalty, sacrifice, love, pain, despair, insecurities, hurts, and forgiveness and ultimately, redemption are the under girding basis for its purpose. The very point was to prove that life was not about mercenary gain, worldly status achievements or success by anyone's standards- it was and is about the true joys of life if we open our hearts and minds to realize what we have: contentment, and simple childlike love. It's about the greater purposes beyond our own. As for the film being depressing, only those who fail to believe in its very message will find it as such. Plus, it was not meant to be a quintessential 'feel good' Christmas movie, it was only as such because years later a network aired it seasonally- cruelly ironic in that that very gesture was a complete and injudicious affront and lack of appraisal for the film. However, again, the film doesn't need anyone's approval, ratings, or Oscars to prove its value. Anyone who can breach the cynical ignorance and enjoy its message can enjoy it because the film, albeit non-esoteric or 'film school technically gifted', was nonetheless intended for that very lot of people who got it, who understood its magic- people who could appreciate its true meaning of being a crescendo of an affirmation of life, for auld lang syne.