Frank Capra (1897-1991)

       Frank Capra

Frank Capra crafted a unique combination of social commentary and slapstick caprioles at a time when Hollywood hardly looked outside its studios. Populist and humanist, uplifting, fast, and funny, Capra's creations are among Hollywood's most memorable movies and are nostalgically treasured and ritually reviewed as true cult classics.

Between 1915 and 1926, Capra worked his way up the ranks from extra to directing movies, 'The Wrong Man' in 1926, 'Long Pants' in 1927, and 'For the Love of Mike' in 1927 landing him a contract with Columbia Pictures.

Capra made a flawless transition to talkies with 'Ladies of Leisure' in 1930 and 'The Miracle Woman' in 1931 and Columbia gradually gave him more freedom, which Capra used to cut the entrances and exits of actors, and let actions jump from scene to scene without dissolves - all signs of a maturing, experienced director.

'American Madness' in 1932 introduced Capra's favorite theme, the struggle of a plain individual versus a rigid corporation, with nothing less than the 'American Dream' itself at stake. The next decade saw Capra bring this theme to perfection in a string of masterpieces. The fast pace of 'It Happened One Night' in 1934 initiated the screwball-comedy genre but also highlighted problems of the Depression. This combination of crazy comedy and concern for social problems was Capra's first Oscar success, with wins for Best Picture and Best Director. In 'Mr Deeds Goes to Town' in 1936, Capra used a 'what if?' plot device to explore similar themes, winning him his second Oscar. His approach prompted critics to call him 'the gee whiz' director, known for unbridled optimism in overcoming opposition. Displaying this approach at its best are two films with Jean Arthur and James Stewart: the cute and heartfelt 'You Can't Take It With You' in 1938, which won Academy Awards for Best Picture and Best Director again; and 'Mr.Smith Goes to Washington' in 1939.

'Meet John Doe' in 1941 is perhaps Capra's most direct political comment, exposing the fabrications and cynicism of the corporate press before joint community action exposes is evil. During World War II, Capra headed a propaganda unit and directed 'The Battle of Britain' in 1943, part of the seven-volume 'Why We Fight' series, each part an invaluable historical document. Having left Columbia, Capra's next film, 'Arsenic and Old Lace' in 1944, was an uncharacteristic piece: a zany, macabre, and satirical screwball comedy. It was nevertheless a big success.

A WONDERFUL LIFE

As if to atone for the vitriol of 'Arsenic and Old Lace', and in a softening of his trademark idealism, 'It's a Wonderful Life' in 1946 was a heartwarming parable of community commitment and social recognition, dedicated to the true cornerstones of the American dream: family, friendship, and caring. It soon became - and remains to this day - the United States's favorite Christmas movie. For Capra, it was also his last major effort. The romantic comedy 'State of the Union' in 1948 is a nice reprise from the themes of innocence and politics, and his two Bing Crosby films, 'Riding High' in 1950 and 'Here Comes the Groom' in 1951 are fun, but lack the sting and relevance of his earlier works.

After 'A Hole in the Head' in 1949 and 'Pocketful of Miracles' in 1961, Capra retired. It is easy to say that his optimism was naive and his characters gullible, but at a time when the Great Depression and the World War II made reality grim enough, his films provided belief and relief-wishful gee whiz, but why not?