The Arthur Godfrey analogy is quite correct and valid, especially in regards to the on-air firing of Julius LaRosa. But the Clinton/Stern reference is way, WAY off base as regards to this film. This movie is a brilliant indictment of the seedy underpinnings and the rot of conservatism. The "one of us" regular guys as played brilliantly by Andy Griffith was, at heart, only in it for himself, only in it for the money and laughed at those who believed in him, all the way to the bank. A better description of a political conservative could never be found. The Senator, who falls under Lonesome's guidance, is an arch conservative who whines about "big government" while complaining that nobody who's worth a damn ever needed an unemployment check. He even mentions that old bug-a-boo, "big government", of which he is the biggest beneficary. Obviously this isn't an indictment of somebody with liberal leanings like Clinton, and most certainly not of someone like Stern who is probably the most honest, if repellent, media figures of the last 20 years. Not a phony bone in Stern's body.
Elia Kazan's direction is nothing short of wonderful. He has such a mastery of the material that even a child could see the evil behind the facade of the down-home Lonesome Rhodes. Of course, Griffith is terrific in the role, and his singing with such wild abandon adds a nice touch. You know it's Andy doing the vocalizing and he's in fine form. But I think Patricia Neal and Walter Matthau get the short shrift whenever this film is mentioned. Neal is her typically wonderful and understated self. Matthau is fine as the writer who can see though the lies, and is cynically dejected when nobody else can.
The only thing that doesn't work is the rapid demise of Rhodes when Neal flips on the cameras during Rhodes' rant. It's awfully simplistic, but of course, was a necessary plot device.
The inclusion of real-life news people like Walter Winchell, Mike Wallace and John Cameron Swayze is a nice touch and shows just how seriously Kazan was taken as a director. It pays homage to Patricia Neal's 1951 classic "The Day The Earth Stood Still" and its use of newsfolk like Drew Pearson.
A great film and a great indictment of conservatism and it's inherent lie of the moral high ground and love for the common man.
Elia Kazan's direction is nothing short of wonderful. He has such a mastery of the material that even a child could see the evil behind the facade of the down-home Lonesome Rhodes. Of course, Griffith is terrific in the role, and his singing with such wild abandon adds a nice touch. You know it's Andy doing the vocalizing and he's in fine form. But I think Patricia Neal and Walter Matthau get the short shrift whenever this film is mentioned. Neal is her typically wonderful and understated self. Matthau is fine as the writer who can see though the lies, and is cynically dejected when nobody else can.
The only thing that doesn't work is the rapid demise of Rhodes when Neal flips on the cameras during Rhodes' rant. It's awfully simplistic, but of course, was a necessary plot device.
The inclusion of real-life news people like Walter Winchell, Mike Wallace and John Cameron Swayze is a nice touch and shows just how seriously Kazan was taken as a director. It pays homage to Patricia Neal's 1951 classic "The Day The Earth Stood Still" and its use of newsfolk like Drew Pearson.
A great film and a great indictment of conservatism and it's inherent lie of the moral high ground and love for the common man.
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