One of my favorite actors from the Golden Age of Hollywood is Claude Rains. Throughout his career he brought vibrant intelligence and a world weary cynicism to his roles. From his screen personae, it might be assumed that Rains was an English aristocrat educated at elite English “public” schools. Actually he was London Cockney, and had a very pronounced Cockney accent and a speech impediment as he was growing up. He served gallantly in World War I in the British Army in the London Scottish Regiment, rising from private to captain, and being blinded in one eye as a result of a gas attack.
He quickly achieved post war success in England as an actor. He began acting in American films and became an American citizen in 1939. His first big hit was the title role in The Invisible Man in 1933. He went on to achieve stardom with unforgettable roles, such as Prince John in Robin Hood (1938), Senator Joseph Paine in Mr. Smith Goes to Washington (1939) and, doubtless the role he is most known for, Captain Renault in Casablanca (1942):
In 1946 Rains appeared in probably the most unusual role in his career as Satan in Angel On My Shoulder. The plot involves Satan’s attempt to use a deceased gangster, Eddie Kagle, played by Paul Muni, to discredit a living judge the gangster resembles. The film is filled with bon mots by Rains, including him asking “What in my domain is that?” in reference to a ruckus caused by Eddie Kagle after he arrives in Hell. The film has a rather profound sequence where Satan, or “Nick” as he is referred to in the film, expresses his exasperation with God for taking such concern over mortals. He cannot understand why he loves them. I suspect that is the case with the real Devil, and that the love of God is a complete mystery to him. As CS Lewis noted in his The Screwtape Letters: Continue reading
Something for the weekend. In the middle of winter it is no accident, as the Marxists used to say, that I have chosen for our musical selection the theme song from Lawrence of Arabia (1962). One of the last great historical epics, the film tells the tale of Colonel T.E. Lawrence’s involvement in the Arab uprising. It is largely historically inaccurate, although a magnificent story. One reason for the historical inaccuracy, other than the usual transmogrification of history in the hands of filmmakers, is that it relied too heavily on Lawrence’s war memoir Seven Pillars of Wisdom. Lawrence was a brilliant writer and a talented leader of guerrilla forces, but he never let a little thing like truth stand in the way of a good yarn. Continue reading
When the film Mr. Smith Goes to Washington appeared in 1939, many intelligent observers were predicting that the age of Democracy was at an end and that the age of Fascism and Communism was dawning. Democracy, perhaps, was a lost cause. In the face of a tide of totalitarianism that seemed to be destined to engulf the globe, Frank Capra made this film celebrating Democracy.
It is a very odd sort of celebration. The film starkly presents one of the key problems in any Democracy: the political corruption that mocks the ability of the people to rule themselves.
Jefferson Smith, portrayed by Jimmy Stewart in his first leading man role, is a grown-up boy scout. He has never surrendered his belief in this country and its ideals, because he has always lived in a sort of never-never land that he has created. He is the head of the Boy Rangers (the Boy Scouts foolishly refused to allow their name to be used in the film), and he looks at the world with the idealism of a boy who simply wants to do what is right. One of the senators from his state, Sam Foley, dies in office. The governor of his state, an indecisive man, decides to appoint Smith to the Senate based upon the recommendation of his children and because he realizes that he will not be criticized for appointing this do-gooder. The man who actually controls the state, political boss Jim Taylor, unforgettably portrayed by Edward Arnold, goes along with the choice after being assured that Smith is a babe in the woods and will be easy to manipulate.
The senior senator from the state, Joseph Paine, is surprised to learn that Smith is the son of an old friend of his, a crusading small town newspaper editor, who was murdered in the course of one of his crusades. Paine was a crusading attorney, but he has long since sold his soul to Jim Taylor: a senate seat in exchange for Paine serving as Taylor’s man in Washington.
Jefferson Smith does seem initially to be a very poor choice to fill a spot in the Senate. He is filled with idealism, but has almost no knowledge about what a senator does. He does have one big goal however: the establishment of a camp in his state where the Boy Rangers may have a camp. He drafts a bill to this effect with the help of his secretary, Clarissa Saunders, played by Jean Arthur in her finest role. Saunders is in many ways the opposite of Smith. She is a paid agent of the Taylor machine, and is filled with endless cynicism. However, she is also filled with practical knowledge about how the Senate operates. She finds herself, against her will, falling in love with Smith and his idealism.