Mr. Smith Goes to Washington [G]

After the death of a prominent senator, a corrupt political machine appoints small-town patriot Jefferson Smith to replace him in Washington. Naïve and idealistic Smith introduces a bill that unknowingly interferes with his employers’ plans for personal gain and the machine’s gears begin to break down as Smith stands before the senate and appeals to the patriotic boy that still sits somewhere within the hearts of corrupt men. 

A modern David and Goliath story if ever there was one, Frank Capra’s brutal political drama is a work of cinematic majesty and mastery using the medium in such a beautiful way to depict the thriving American ideals like freedom and liberty in a modern world that is increasingly becoming more cynical and corrupt. Between its exquisite shot composition, dramatic soundtrack, and captivating performances, Mr. Smith Goes to Washington is a true classic that stands the test of time in the absolute best way: decades later it still holds great relevance and still manages to invoke emotional responses. I laughed, cried, I questioned the ethics and morals; I went through the emotional ringer with this film and loved every minute of it! 

Whilst drama as a collective genre is always captivating, there is something particularly intriguing about courthouse and political dramas. Something about the levels of power being depicted through wonderful camera angles and mise-en-scene is exciting and electric and Capra does it wonderfully well. 

The makeup of every scene is flawless and camera angles used within the senate are particularly memorable because they both group and segregate the characters in their statuses. Wide shots, mid shots, and close ups with unfocused characters sitting up at the desk or in the gantry create this wonderful complex of status and power and the way all the shots are balanced and strung together beautifully illustrates how those levels can shift within a moment. Capra’s attention to how the camera can show characters really is used to the utmost perfection: each scene in that senate is rich and complex and just admirable. 

Of course, the film is all about power and status: the question of who controls whom and is a man really free. The David vs. Goliath, one man against the world story is highlighted by the brutality that takes place outside of the senate. Whilst Smith delivers empowering monologues peppered with great bouts of humour, the really dramatic stuff is happening out in the streets and Capra does not shy away from depicting just how brutal authoritative forces can be. We see men running boys off the roads, forcing them into wrecks, we see police hosing down protesters, and we see our hero being mercilessly crucified in the press. 

The scope of the devastation and drama is epic and it makes the ending all the more moving because, whilst the themes of the film are recognisable and all that, at no point are they clichéd. 

And then we have the performance of the hero. James Stewart as Jefferson Smith is perfect and he delivers a performance that is really moving. The transformation that he goes through is incredible, beginning the film wide-eyed and ‘wet behind the ears’ his exposure to politics in Washington physically reduces him to the hoarse, unkempt man at the end who can barely stand. Throughout the film Stewart works really as the all rounder, sparking the tears during the dramatic scenes and then providing refreshing bouts of sincere comedy to pick us back up again. He’s wonderful. 

Starring Jean Arthur, Claude Rains, Edward Arnold, Guy Kibbee, Thomas Mitchell, Eugene Pallette, Beulah Bondi. H. B. Warner, Harry Carey, Astrid Allwyn, Ruth Donnelly, Grant Mitchell, Porter Hall, and Pierre Watkin, Mr. Smith Goes to Washington is a wonder. It’s a true classic of cinema filled with a loveable hero, beautiful character arcs, drama, conspiracy, backstabbing, violence, romance, and comedy. In a word it’s breathtaking in the true sense of the word; like when the wind is knocked from you by one powerful punch. That is this film!