The film was controversial in the US when it was first released, with attacks from many politicians claiming that it brought Washington into disrepute, but it was very successful at both the domestic and international box offices, and it made Stewart a major star.[7]
In the late 1930s, the governor of an unnamed western state, Hubert "Happy" Hopper, appoints Jefferson Smith to replace deceased U.S. Senator Sam Foley. Smith is head of the Boy Rangers, and his appointment is supported by the governor's children. Corrupt political boss Jim Taylor sought the appointment of his handpicked stooge, while popular committees wanted another candidate. Smith, however, was chosen because his naivety about politics was expected to make him easy to manipulate.
Smith is taken under the wing of the publicly esteemed, but secretly crooked, Senator Joseph Paine, who was Smith's late father's friend. Smith develops an immediate attraction to the senator's daughter, Susan. At Senator Paine's home, Smith has a conversation with Susan, fidgeting and bumbling, entranced by the young socialite. Smith's naïve and honest nature allows the unforgiving Washington press to take advantage of him, quickly tarnishing Smith's reputation with ridiculous front-page pictures and headlines branding him a bumpkin.
To keep Smith busy, Paine suggests he propose a bill. With the help of his secretary, Clarissa Saunders, who was the aide to Smith's predecessor and had been around Washington and politics for years, Smith comes up with a bill to authorize a federal government loan to buy some land in his home state for a national boys' camp, to be paid back by youngsters across America. Donations pour in immediately. However, the proposed campsite is already part of a dam-building graft scheme included in an appropriations bill framed by the Taylor political machine and supported by Senator Paine.
Unwilling to crucify the worshipful Smith so that their graft plan will go through, Paine tells Taylor he wants out, but Taylor reminds him that Paine is in power primarily through Taylor's influence. Paine then advises Smith to keep silent about the matter. The following day, when Smith speaks out about the bill at Senate, the machine in his state — through Paine — accuses Smith of trying to profit from his bill by producing fraudulent evidence that Smith already owns the land in question. Smith is too shocked and angry by Paine's betrayal to defend himself and runs away.
Saunders, who looked down on Smith at first, but has come to believe in him, talks him into launching a filibuster to postpone the appropriations bill and prove his innocence on the Senate floor just before the vote to expel him. In his last chance to prove his innocence, he talks non-stop for about 25 hours, reaffirming the American ideals of freedom and disclosing the dam scheme's true motives. Yet none of the senators are convinced.
The constituents try to rally around him, but the entrenched opposition is too powerful, and all attempts are crushed. Owing to the influence of Taylor's machine, newspapers and radio stations in Smith's home state, on Taylor's orders, refuse to report what Smith has to say and even distort the facts against the senator. The Boy Rangers' effort to spread the news in support of Smith results in vicious attacks on the children by Taylor's gangsters.
Although all hope seems lost, the senators begin to pay attention as Smith approaches utter exhaustion. Paine has one last card up his sleeve: he brings in bins of letters and telegrams from Smith's home state, purportedly from average people demanding his expulsion. Nearly broken by the news, Smith finds a small ray of hope in a friendly smile from the President of the Senate. Smith vows to press on until people believe him but immediately collapses in a faint. Overcome with the pangs of remorse, Paine leaves the Senate chamber and attempts to commit suicide by gunshot but is stopped by onlooking senators. He then bursts back into the Senate chamber, shouting a confession to the whole scheme; the reformed Paine further insists that he must be expelled from the Senate and affirms Smith's innocence to Clarissa's delight. The President of the Senate observes the ensuing chaos with amusement.
Sen. Jefferson Smith and his aid Clarissa Saunders in a taxi with the Capitol dome lit up at night in the rear window
Smith pursues his filibuster in the Senate chamber before senators deliberately ignoring him
Paine and Smith in the Senate, with Smith holding letters and telegrams demanding his resignation in the final scene
Following Capra's usual habits, working with people he knew well, he brought together again three of the leading actors from his previous film production for Columbia Pictures, You Can't Take It with You of 1938, with Arthur, Stewart, and Arnold in lead roles again.
Among the unbilled veteran character actors seen in the film are Guy Kibbee's brother, Milton Kibbee, who has a bit as a reporter; Lafe McKee; and Matt McHugh of the McHugh acting family. Also in the film in minor roles are Dub Taylor and Jack Carson, later well-known actors. Silent film character player Hank Mann played a photographer.
Production
Columbia Pictures originally purchased Lewis R. Foster's unpublished story, variously called "The Gentleman from Montana" and "The Gentleman from Wyoming", as a vehicle for Ralph Bellamy, but once Frank Capra came on board as director– after Rouben Mamoulian had expressed interest– the film was to be a sequel to his Mr. Deeds Goes to Town, called Mr. Deeds Goes to Washington, with Gary Cooper reprising his role as Longfellow Deeds.[N 1] Because Cooper was unavailable, Capra then "saw it immediately as a vehicle for Jimmy Stewart and Jean Arthur",[11] and Stewart was borrowed from MGM.[4] Capra said of Stewart: "I knew he would make a hell of a Mr. Smith ... He looked like the country kid, the idealist. It was very close to him."[12]
Although a youth group is featured in the story, the Boy Scouts of America refused to allow their name to be used in the film and instead the fanciful "Boy Rangers" was used.[4]
In January 1938, both Metro-Goldwyn-Mayer and Paramount Pictures submitted Foster's story to the censors at the Hays Office, likely indicating that both studios had an interest in the project before Columbia purchased it. Joseph Breen, the head of that office, warned the studios: "[W]e would urge most earnestly that you take serious counsel before embarking on the production of any motion picture based on this story. It looks to us like one that might well be loaded with dynamite, both for the motion picture industry, and for the country at large." Breen specifically objected to "the generally unflattering portrayal of our system of Government, which might well lead to such a picture being considered, both here, and more particularly abroad, as a covert attack on the Democratic[sic?] form of government", and warned that the film should make clear that "the Senate is made up of a group of fine, upstanding citizens, who labor long and tirelessly for the best interests of the nation."
Later, after the screenplay had been written and submitted, Breen reversed course, saying of the film, "It is a grand yarn that will do a great deal of good for all those who see it and, in my judgment, it is particularly fortunate that this kind of story is to be made at this time. Out of all Senator Jeff's difficulties there has been evolved the importance of a democracy and there is splendidly emphasized the rich and glorious heritage which is ours and which comes when you have a government 'of the people, by the people, and for the people.'"[4]
In the studio, to ensure authenticity, an elaborate set was created, consisting of Senate committee rooms, cloak rooms, and hotel suites, as well as specific Washington, D.C., monuments, all based on a trip Capra and his crew made to the capital. Even the Press Club of Washington was reproduced in minute detail,[4][15] but the major effort went into a faithful reproduction of the Senate Chamber on the Columbia lot. James D. Preston, a former superintendent of the Senate gallery, acted as technical director for the Senate set, as well as advising on political protocol. The production also utilized the "New York street set" on the Warner Bros. lot, using 1,000 extras when that scene was shot.[4]
The ending of the film was apparently changed at some point, as the original program describes Stewart and Arthur returning to Smith's hometown, where they are met by a big parade, with the implication that they are married and starting a family.[4] In addition, the Taylor political machine is shown being crushed; Smith, riding a motorcycle, visits Senator Paine and forgives him; and a visit to Smith's mother is included. Some of this footage can be seen in the film's trailer.[16]
Stewart and Capra (second from right)
Stewart and Arthur
Stewart, Arthur and Capra
Impact
The film premiered in Constitution Hall in Washington, D.C., on October 17, 1939, sponsored by the National Press Club, an event to which 4,000 guests were invited, including 45 senators.[12]Mr. Smith Goes to Washington was attacked by the Washington press, and politicians in the U.S. Congress, as anti-American and pro-Communist/Socialist for its portrayal of corruption in the American government.[17] Frederic William Wile of The Washington Star wrote that the film showed "the democratic system and our vaunted free press in exactly the colors Hitler, Mussolini and Stalin like to paint them."[18] While Capra claims in his autobiography that some senators walked out of the premiere, contemporary press accounts are unclear about whether this occurred or not, or whether senators yelled back at the screen during the film.[19]
However, it is known that Alben W. Barkley, a Democrat and the Senate Majority Leader, called the film "silly and stupid", and said it "makes the Senate look like a bunch of crooks".[20] He also remarked that the film was "a grotesque distortion" of the Senate, "as grotesque as anything ever seen! Imagine the Vice President of the United States winking at a pretty girl in the gallery in order to encourage a filibuster!" Barkley thought the film "showed the Senate as the biggest aggregation of nincompoops on record!"[20]
Pete Harrison, a respected journalist and publisher of the motion picture trade journal Harrison's Reports, suggested that the Senate pass a bill allowing theater owners to refuse to show films that "were not in the best interest of our country". That did not happen, but one of the ways that some senators attempted to retaliate for the damage they felt the film had done to the reputation of their institution was by pushing the passage of the Neely Anti-Block Booking Bill, which eventually led to the breakup of the studio-owned theater chains in the late 1940s. Columbia responded by distributing a program which put forward the film's patriotism and support of democracy and publicized the film's many positive reviews.[21]
Other objections were also voiced. Joseph P. Kennedy, the American Ambassador to Great Britain, wrote to Capra and Columbia head Harry Cohn to say that he feared the film would damage "America's prestige in Europe", and because of this urged that it be withdrawn from European release. Capra and Cohn responded, citing the film's review, which mollified Kennedy to the extent that he never followed up, although he privately still had doubts about the film.[22]
When a ban on American films was imposed in German occupied France in 1942, some theaters chose to show Mr. Smith Goes to Washington as the last movie before the ban went into effect. One theater owner in Paris reportedly screened the film nonstop for 30 days after the ban was announced.[23]
The critical response to the film was more measured than the reaction by politicians, domestic and foreign. When it premiered at the Radio City Music Hall, the critic for The New York Times, for instance, Frank S. Nugent, wrote that "[Capra] is operating, of course, under the protection of that unwritten clause in the Bill of Rights entitling every voting citizen to at least one free swing at the Senate. Mr. Capra's swing is from the floor and in the best of humor; if it fails to rock the august body to its heels– from laughter as much as from injured dignity– it won't be his fault but the Senate's, and we should really begin to worry about the upper house."[24]
Mr. Smith Goes to Washington has been called one of the quintessential whistleblower films in American history. Dr. James Murtagh and Dr. Jeffrey Wigand cited this film as a seminal event in U.S. history at the first "Whistleblower Week in Washington" (May 13–19, 2007).[25][26] Others have highlighted the film's vigorous support for free speech as a check of tyranny, and have pointed to the parallels between the strong-armed tactics of the Taylor Machine depicted in the film and those which had recently been deployed by Mayor Frank Hague against protestors in Jersey City, New Jersey.[27]
Mr. Smith Goes to Washington has often been listed as among Capra's best, but it has been noted that it "marked a turning point in Capra's vision of the world, from nervous optimism to a darker, more pessimistic tone. Beginning with American Madness (1932), such Capra films as Lady for a Day (1933), It Happened One Night (1934), Mr. Deeds Goes to Town (1936), and You Can't Take It With You (1938) had trumpeted their belief in the decency of the common man. In Mr. Smith Goes to Washington, however, the decent common man is surrounded by a venal, petty and thuggish group of crooks. Everyone in the film – except for Jefferson Smith and his tiny cadre of believers – is either in the pay of the political machine run by Edward Arnold's James Taylor or complicit in Taylor's corruption through their silence, and they all sit by as innocent people, including children, are brutalized and intimidated, rights are violated, and the government is brought to a halt."[28] Nevertheless, Smith's filibuster and the tacit encouragement of the Senate President are both emblematic of the director's belief in the difference that one individual can make. This theme would be expanded further in Capra's It's a Wonderful Life (1946) and other films.
Mr. Smith Goes to Washington was named as one of the best films of 1939 by The New York Times and Film Daily, and was nominated for Best Film by the National Board of Review.
In 1989, Mr. Smith Goes to Washington was added to the United States National Film Registry as being deemed "culturally, historically, or aesthetically significant".[31]
In 1949, Columbia planned, but never actually produced, a sequel to Mr. Smith Goes to Washington, called Mr. Smith Starts a Riot. They also considered doing a gender-reversed remake in 1952, with Jane Wyman playing the lead role.[4]
For their 2002 season, the San Francisco Mime Troupe presented a musical, Mr. Smith Goes to Obscuristan, which tells the story of "an idealistic innocent who learns firsthand what Presidency of George W. Bush means when it claims to support democratic principles at home and abroad" in a post-9/11 setting.[37]
The short-lived NBC political drama Mister Sterling (2003) was described as "a Mr. Smith Goes to Washington for the 21st century", with the show centering on an idealistic young senator from California, coming to grips with Washington and appointed by a scheming, underhanded governor.[4]
Frank Russell Capra was an Italian-American film director, producer, and screenwriter who was the creative force behind several major award-winning films of the 1930s and 1940s. Born in Italy and raised in Los Angeles from the age of five, his rags-to-riches story has led film historians such as Ian Freer to consider him the "American Dream personified".
James Maitland Stewart, commonly referred to by the public as Jimmy Stewart, was an American actor, military aviator, and poet. Known for his distinctive drawl and everyman screen persona, Stewart's film career spanned 80 films from 1935 to 1991. With the strong morality he portrayed both on and off the screen, he epitomized the "American ideal" in the mid-twentieth century. In 1999, the American Film Institute (AFI) ranked him third on its list of the greatest American male actors. He received numerous honors including the AFI Life Achievement Award in 1980, the Kennedy Center Honor in 1983, as well as the Academy Honorary Award and Presidential Medal of Freedom, both in 1985.
Why We Fight is a series of seven propaganda films produced by the US Department of War from 1942 to 1945, during World War II. It was originally written for American soldiers to help them understand why the United States was involved in the war, but US President Franklin Roosevelt ordered distribution for public viewing.
It Happened One Night is a 1934 American pre-Code romantic comedy film with elements of screwball comedy directed and co-produced by Frank Capra, in collaboration with Harry Cohn, in which a pampered socialite tries to get out from under her father's thumb and falls in love with a roguish reporter. The screenplay by Robert Riskin is based on the August 1933 short story "Night Bus" by Samuel Hopkins Adams, which provided the shooting title. Classified as a "pre-Code" production, the film is among the last romantic comedies created before the MPPDA began rigidly enforcing the 1930 Motion Picture Production Code in July 1934. It Happened One Night was released just four months prior to that enforcement.
It's a Wonderful Life is a 1946 American Christmas supernatural drama film produced and directed by Frank Capra. It is based on the short story and booklet "The Greatest Gift" self-published by Philip Van Doren Stern in 1943, which itself is loosely based on the 1843 Charles Dickens novella A Christmas Carol. The film stars James Stewart as George Bailey, a man who has given up his personal dreams in order to help others in his community and whose thoughts of suicide on Christmas Eve bring about the intervention of his guardian angel, Clarence Odbody. Clarence shows George all the lives he touched and what the world would be like if he had not existed.
Mr. Deeds Goes to Town is a 1936 American comedy-drama romance film directed by Frank Capra and starring Gary Cooper and Jean Arthur in her first featured role. Based on the 1935 short story "Opera Hat" by Clarence Budington Kelland, which appeared in serial form in The American Magazine, the screenplay was written by Robert Riskin in his fifth collaboration with Frank Capra.
Lost Horizon is a 1937 American adventure drama fantasy film directed by Frank Capra. The screenplay by Robert Riskin is based on the 1933 novel of the same name by James Hilton.
The Philadelphia Story is a 1940 American romantic comedy film starring Cary Grant, Katharine Hepburn, James Stewart and Ruth Hussey. Directed by George Cukor, the film is based on the 1939 Broadway play of the same name by Philip Barry about a socialite whose wedding plans are complicated by the simultaneous arrival of her ex-husband and a tabloid magazine journalist. The socialite, played by Hepburn in both productions, was inspired by Helen Hope Montgomery Scott (1904–1995), a Philadelphia heiress who had married Barry's friend.
The Shop Around the Corner is a 1940 American romantic comedy-drama film produced and directed by Ernst Lubitsch and starring Margaret Sullavan, James Stewart and Frank Morgan. The screenplay was written by Samson Raphaelson based on the 1937 Hungarian play Parfumerie by Miklós László. Eschewing regional politics in the years leading up to World War II, the film is about two employees at a leathergoods shop in Budapest who can barely stand each other, not realizing they are falling in love as anonymous correspondents through their letters.
James Stewart was a prolific American actor who appeared in a variety of film roles in Hollywood, primarily of the Golden Age of Hollywood. From the beginning of his film career in 1934 through his final theatrical project in 1991, Stewart appeared in more than 92 films, television programs, and short subjects.
Meet John Doe is a 1941 American comedy drama film directed and produced by Frank Capra, written by Robert Riskin, and starring Gary Cooper, Barbara Stanwyck and Edward Arnold. The film is about a "grassroots" political campaign created unwittingly by a newspaper columnist with the involvement of a hired homeless man and pursued by the paper's wealthy owner. It became a box-office hit and was nominated for an Academy Award for Best Story. It was ranked No. 49 in AFI's 100 Years ... 100 Cheers. In 1969, the film entered the public domain in the United States because the claimants did not renew its copyright registration in the 28th year after publication. It was the first of two features Capra made for Warner Brothers, after he left Columbia Pictures, the other being Arsenic and Old Lace (1944).
Clifford Porter Hall was an American character actor known for appearing in a number of films in the 1930s and 1940s. Hall typically played villains or comedic incompetent characters.
Robert Riskin was an American screenwriter. He is best known for his collaborations with Frank Capra.
The 12th Academy Awards ceremony, held on February 29, 1940, by the Academy of Motion Picture Arts and Sciences (AMPAS), honored the best in film for 1939 at a banquet in the Coconut Grove at The Ambassador Hotel in Los Angeles. It was hosted by Bob Hope, in his first of nineteen turns as host.
Billy Jack Goes to Washington is a 1977 American political drama film starring Tom Laughlin, the fourth film in the Billy Jack series, and although the earlier films saw enormous success, this film did not. The film only had limited screenings upon its release and never saw a general theatrical release, but has since become widely available on DVD. The film is a loose remake of the 1939 Frank Capra film Mr. Smith Goes to Washington, and is directed by Laughlin under the on-screen pseudonym "T.C. Frank".
You Can't Take It with You is a 1938 American romantic comedy film directed by Frank Capra, and starring Jean Arthur, Lionel Barrymore, James Stewart, and Edward Arnold. Adapted by Robert Riskin from the Pulitzer Prize-winning 1936 play of the same name by George S. Kaufman and Moss Hart, the film is about a man from a family of rich snobs who becomes engaged to a woman from a good-natured but decidedly eccentric family.
Frank Capra was an Italian American film director, producer and writer who became the creative force behind some of the major award-winning films of the 1930s and 1940s. Capra directed a total of 36 feature-length films and 16 documentary films during his lifetime.
Gladys Gale was an American nightclub singer and vaudeville performer, before becoming a character actress in films during the 1930s and 1940s. The wife of a millionaire, she led a checkered life before dying under mysterious circumstances in a Los Angeles hotel room under an assumed name.
On August 28, 1957, Strom Thurmond, then a Democratic United States senator from South Carolina, began a filibuster intended to prevent the passage of the Civil Rights Act of 1957. The filibuster—an extended speech designed to stall legislation—began at 8:54p.m. and lasted until 9:12p.m. the following day, a duration of 24 hours and 18 minutes. This made the filibuster the longest single-person filibuster in United States Senate history, a record that still stands as of 2024. The filibuster focused primarily on asserting that the bill in question, which provided for expanded federal protection of African American voting rights, was both unnecessary and unconstitutional, and Thurmond recited from documents including the election laws of each U.S. state, Supreme Court decisions, and George Washington's Farewell Address. Thurmond focused on a particular provision in the bill that dealt with certain court cases, but opposed the entirety of the bill.
References
Informational notes
↑ Lewis Foster later testified during a lawsuit that he had written the story specifically with Gary Cooper in mind.[4]
↑ Beito, David T. (2023). The New Deal's War on the Bill of Rights: The Untold Story of FDR's Concentration Camps, Censorship, and Mass Surveillance (Firsted.). Oakland: Independent Institute. pp.86–87. ISBN978-1598133561.
↑ Eyman, Scott (1993). Ernst Lubitsch: Laughter in Paradise. JHU Press. ISBN0-8018-6558-1. Ninotchka's financial returns were less than those of the year's biggest hit, Mr. Smith Goes to Washington, which made $3.5 million, but considerably more than other hits like The Old Maid ($1.4 million), Only Angels Have Wings ($1.1 million), or The Rains Came ($1.65 million).
Mr. Smith Goes to Washington essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, A&C Black, 2010 ISBN0826429777, pages 295-296
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Sen. Jefferson Smith and his aid Clarissa Saunders in a taxi with the Capitol dome lit up at night in the rear window
Smith pursues his filibuster in the Senate chamber before senators deliberately ignoring him
Paine and Smith in the Senate, with Smith holding letters and telegrams demanding his resignation in the final scene
