IT'S A WONDERFUL LIFE (1946) | Classic movie review
"No man is a failure who has friends."
How can I write a review of a movie that changed my life, and continues to do so every year? And how can I write a review of a nearly perfect movie? Compared to the simple, elegant profundity of Frank Capra’s It’s a Wonderful Life, anything I could write about it will be “as so much straw,” to borrow language from St. Thomas.
So I will not try to write a neatly structured and composed review. Instead here are, in no particular order, some of the many things I like about this masterpiece.
I love the character of George Bailey (big shock, eh?). Specifically I love how he embodies the Everyman perfectly. George is neither a tremendously heroic hero or a complex, conflicted one. His virtue consists in a lifetime of doing the right thing day by day by day, even when it’s clearly incredibly painful. Aristotle would characterize George as a “continent” man - one who does the right thing because he knows it’s right, and doesn’t enjoy it1. Well guess what: most of us are like that. Most of us are not St. George or Michael Corleone, but rather George Bailey. George Bailey is proof that simply good characters can still be truly, deeply compelling characters. Writers would do well to study George Bailey and why he works as a character.
Another thing I appreciate is the cinematography. With the technical advances in both film and digital cameras over the years, it's actually insane how good this movie looks and how garbage most modern movies look. The first shot of Mary looking at George at the graduation party is one of the most gorgeous images ever captured on camera.
Likewise the shot of a desperate and despondent George running up to and then looking straight into the camera is seared into my mind forever. The way this movie captures the human face is extraordinary.
I love how somehow even though Clarence explains the mechanics of the plot in detail to George, it doesn't come across as over-explaining to the audience. I think after an hour and a half of a simple, beautiful, solid story, the filmmakers have earned the ability to speak more directly to the audience and not lose them in the process.
I love the use of foreshadowing in the dialogue. Some specific examples: George says “Why did you marry a guy like me?” Mary answers “To keep from being an old maid.” Also, Violet asks “Where are you going, George?” He answers “I don't know, I'll probably end up down at the library.” Also a reference early on to the “Bailey boarding house.”
I love the guy who has the one line of dialogue “We'll wait for you, baby.” Most actors in old movies are uncredited, so it's hard to say for sure, but I think it's this guy, Frank Fenton. Awards bodies should create awards and name them after him: The Frank Fenton Award for Best Performance by an Actor Who Only Delivers a Single Line of Dialogue.
I love the music. I especially like how understated it is during the first hour and a half of the movie and then how much heavy lifting it does near the end. That little bit of Dies Irae when he's back on the bridge at the end hits so hard.
Is it possible to improve this movie? If I could go back in time to offer a suggestion to Frank Capra, I would humbly suggest that he use the “Buffalo Gals” song one more time near the end of the movie. It plays such an important role in George and Mary's relationship, I'd love to see a final callback of that.
That's it!
Score: 10 out of 10
Value for a Catholic audience: Excellent
Do I have to justify either of those ratings?
From best to worst:
Virtuous: does the right thing because it’s right, and also enjoys it
Continent: does the right thing because it’s right, but doesn’t enjoy it
Incontinent: knows what is right but fails, and is saddened by it
Vicious: knows what is right but chooses what is wrong and enjoys it