Meet John Doe

The most baroque, extreme example of Capra-corn, demonstrating how homespun populism just might be a corporatist form of fascism in disguise. (Particularly relevant in these days of the Tea Party and the Koch brothers). Cooper, Stanwyck, Brennan and Arnold are all very good, and the scene where Regis Toomey tells us how the John Doe clubs got started always brings a tear to my eye. But the movie cops out at the end: everything points to Cooper's suicide, and its happy ending is a betrayal.

Capra's pointed comedy is about a booming grassroots political movement that is actually being manipulated by the power structure. Cooper plays the drifter drafted to be the movement's figurehead, and Stanwyck plays the tough, brassy newspaper reporter who invented him, becomes his handler and then defender. Capra mixes in his some of his patented populist cheerleading as characters rage against the machine in the noblest, most polite manner possible, but it's the grumpy doomsaying that sticks.

I wish Capra hadn't tried to muddle up a perfectly fine sentiment with a lot of crap about God and country, but otherwise it's a winner.

a newspaper accidentally creates a public hero with strong moral convictions. the media jumps, and bankrolls a national movement. this corporate fascism is based on a lie and falls apart, but our dear leader need only tell the truth and stay true to his beliefs. in the end, we can all celebrate a 'populist' fascism, one with fewer bankers and more founding fathers. basically, capra always includes enough comedy and critique to be enjoyable, but his conclusions are the worst of homespun wisdom.

Capra's unbridled optimism in full force. A shaky start, but difficult to deny what it becomes, and, astonishingly enough, even the romance comes off as credible.

There's nothing really wrong with the execution and it might even have a good message, but the story itself is so boring I just couldn't give a damn.

A movie about journalistic integrity, political machinations, and social justice programs springing up all over the US. Yes, it's easy to see the hokiness in some of it, but an audience in 1941 might have really appreciated the patriotism and the recognition of "the little people." Had this been some fifteen minutes shorter, it might have been a classic; oddly, though, Capra's other Christmas suicide film is ~10 min longer. Fav scene: the unblinking Colonel's monologue on the "Heelots."

Is the John Doe moment good even if it was fake and manufactured as a publicity stunt, because it created a sizeable group of people who really came together and started making positive change? Can such a moment really change things without a revolution? As the movie shows, the rich will always try to infiltrate it to benefit their interest, they control the police and the media, so how can the John Does succeed with them there, always scheming to get a fascist regime? What a fantastic film

A bit too preachy for my liking - the potentially dangerous link between politics and newspapers is obviously much more powerfully explored in 'Citizen Kane' - but worth a look for Cooper and Stanywyck who are (as always) entirely convincing in their performances.

Some historical context from Pauline Kael: "For the sake of a happy ending [...], the meanings were so distorted that the original authors sued." I'm not convinced original meanings were ever Capra's intention; it's too cutesy and earnest for its own good, and the directorial style is so confident it feels heavy-handed. Still, Stanwyck's intelligence and inventiveness are on full display. Gary Cooper looks pained and befuddled the whole time...almost hard to believe he was such a heartthrob.

83.00

A incredibly well-meaning film from the king of sentimentality Frank Capra. Shows the dirty messed up mindset of American politics, something which is still very evident today three-quarters of a century later. The average John doesn't have a chance in US politics regardless of movements that'll shake the nation. Even the good guys can be seen as scammers, even if they're never portrayed as such by the director. Motivating story, though a little stuffy. Terrific cast.

Gammal ostig film. Har inledningsvis en viss (ostig) charm, men blir ganska olidlig när den tar sig själv på allvar. Gjord 1941 så det är lätt att förstå varför, men det hjälper inte. Stanwyck slarvas bort.

Found the premise irritatingly made-up, and the opening scenes clumsy, if not unconvincing. However, it picked up strength and the acting was good. Capraesque corniness unfortunately was a feature of the ending minutes

I know it's Capra and everything but the end feels real tacked on. Lots of funny bits throughout. Didn't really think Cooper had good form as a pitcher.

"Powerful naivete." http://illusionpodcast.blogspot.com/2014/11/episode-38-frank-caprabarbara-stanwyck.html

This is such a Capra film. Cooper and Stanwyck are great, the premise is very strong and maintains sincerity, even as it sets up a variety of comedic scenes, and the message is reasonably strong if a bit muddled. Shame the ending kind of drops the ball, but it's still an entertaining film.

Frank Capra #6

Some interesting and quite dark themes, but the pacing was a bit slow at times.

fantastic throughout...and what an ending...