2025 INTRODUCTION

Once again, the annual Ethics Alarms posting of my guide to watching the 1946 classic is in Thanksgiving week, first, because I concluded a few years ago that it is a Thanksgiving movie, and second, because I personally need the movie right now. It’s a Thanksgiving movie because a man learns through divinely orchestrated perspective that he has a lot to be thankful for, even if it often hasn’t seemed like it in his life of disappointments and dashed dreams. He’s married to Donna Reed, for heaven’s sake! He has nothimg to complain about.

I just finished re-reading last year’s version and making some additions and subtractions. You know what? It’s worth reading again. I wrote the thing, and I still get a lot out of it.

Last year was a particularly gloomy one for me, and I’m afraid my annual introduction reflected that. It was hard for me to even watch “It’s a Wonderful Life,” which was my late wife’s favorite movie (well, tied with “Gone With the Wind” and “To Kill a Mockingbird”) last year, and, though I have had 364 days more to get used to existence with out her, I’m more resigned than better.

This year, in September, I had an “IAWL” moment when a lawyer whom I had only known for a few days pulled me aside at a gala celebration of the 52nd year of continuous operation of a student theater group I had founded my first year in law school. He said that his two young children, who I could see playing in the courtyard, wouldn’t exist if I hadn’t started the organization  where he met his wife, and he wanted to thank me.

The reunion of lawyers who  participated in the over 150 plays, musicals and operettas produced by the group revealed that dozens of lasting marriages and their children had been an unanticipated result of the unique organization, the only graduate school theatrical group in the U.S. “Strange, isn’t it?,” Clarence says to George as the metaphorical light finally dawns. “Each man’s life touches so many other lives. When he isn’t around he leaves an awful hole, doesn’t he?”

I’m not celebrating Thanksgiving this year for too many reasons to go into, but I guess I’m thankful that I’m here instead of a hole. It’s a lowly measure of success, but I’ll take it.

Grace so loved the final scene when Harry Bailey toasts, “To my big brother George, the luckiest man on earth!” and everyone starts singing  “Auld Lang Syne.” She always started crying, and, to be honest, I think I’ll skip that part this year. When I watched it last year, it almost killed me. 

Besides, Billy Crystal (actually Nora Ephron, who wrote his lines) pretty much ruined “Auld Lang Syne” for me with his observations in “When Harry Met Sally.” The song really doesn’t make any sense, it just feels right. One might say the same thing about “It’s A Wonderful Life.”

I won’t, however.

PREFACE

Frank Capra must have felt that the movie was bitterly ironic. It was a flop, and destroyed his infant project with some other prominent directors to launch a production company called “Liberty” that would give directors the liberty to put their artistic visions on the screen without interference from the money-obsessed studios. “It’s A Wonderful Life” was the first and last film produced by Liberty Studios: it not only killed the partnership, it just about ended Capra’s career.

James Stewart was, by all accounts, miserable during the shooting. He suffered from PTSD after his extensive combat experience, and the stress he was under shows in many of the scenes, perhaps to the benefit of the film.

It is interesting that the movie is scored by Dmitri Tiompkin, a Russian expatriate who is best known for scoring Westerns like “Red River” and “High Noon.” He wasn’t exactly an expert on small town America, but his trademark, using familiar tunes and folk melodies, is on full display. Clarence, George’s Guardian Angel (Second Class), is frequently underscored with the nursery rhyme “Twinkle Twinkle Little Star” because he is represented by a star in the opening scene in Heaven. The old bawdy tune “Buffalo Girls” is another recurring theme, an odd one for a wholesome film, since the buffalo girls were prostitutes.

Donna Reed is a revelation in the film. She is best remembered as the wise and loving Fifties mom in “The Donna Reed Show” (in the brilliant satiric musical “Little Shop of Horrors,” doomed heroine Audrey singing about her dream of domestic bliss “somewhere that’s green” sings “I cook like Betty Crocker and I look like Donna Reed.”) But she was an excellent dramatic actress, and Hollywood did not do her talents justice. She was also, I am told by my freind and hero Paul Peterson who played her young son Jeff, as nice and admirable in person as she seemed on the show.

Lionel Barrymore, once described by a critic as an actor who could overact just by sitting still, is nonetheless a memorable villain. It was no coincidence that he was known at holiday time for playing Scrooge in an annual radio prouduction of “A Christmas Carol.” Barrymore was an alcoholic like his two siblings, John and Ethel, both regarded more highly as actors but less able to work reliably through their addiction. Lionel was in a wheelchair for his latter career; he wouldn’t have been if he had been born a few decades later. He needed hip replacements and those weren’t possible for his generation. As a result, he is the only memorable wheelchair-bound film actor of note.

Thomas Mitchell, George’s pathetic Uncle Billy, was one of the greatest Hollywood character actors of his or any other era. He is memorable in many classics, including “High Noon,” “Gone With the Wind,” “Mr. Smith Goes to Washington,” “Stagecoach” and more, while also starring in several successful Broadway plays.  On stage he created the role of the rumpled detective “Columbo,” his final role.

The cop and the cab driver, Bert and Ernie (names borrowed by “Sesame Street” in a strange inside joke) were played by Ward Bond, another prolific character actor who shows up in key roles in too many great movies to list, and  Frank Faylen, who made over 200 movies with IAWL being the only certified classic. Both Bond and Faylen found their greatest success on TV, Bond as the cantankerous wagonmaster and star of “Wagon Train” and Faylen as the apoplectic father of highschooler Dobie Gillis in “The Many Loves of Dobie Gillis.” I don’t think any character on TV made my father laugh as hard as Faylen’s “Herbert T. Gillis.”

Now that the introductions are over with, let’s go to Bedford Falls…but first, a stop in Heaven…

1. A Religious Movie Where There Is No Religion

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