ethics movies

The Ethics Alarms 2025 “It’s A Wonderful Life” Ethics Companion

/ Jack Marshall / 19 Comments

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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Regarding “Conclave”

/ Jack Marshall / 10 Comments

As the Cardinals meet in Rome to find a new Pope for real, it is a propitious time to consider “Conclave,” the “thriller” (as Wikipedia calls it, a stretch) about a fictional conclave after the death of a fictional Pope. I had several friends recommend the film to me, and I finally watched it this week.

I’ll complete this ethics overview without spoilers since the film is relatively new, but wow, what a disappointment. Strong cast, excellent performances, brilliant production design and cinematography, but still, “Conclave” has to be one of the most wildly over-praised films I’ve seen since “Don’t Look Up!,” “The Crying Game” or “Ghost.” This overt Hollywood woke propaganda piece received eight nominations at the 97th Academy Awards, a number once reserved for all-time classics like “Ben-Hur,” “West Side Story” or “Lawrence of Arabia.” Its Best Picture nomination shows how far movie-making standards have fallen and that it won Best Adapted Screenplay is outrageous, since the screenplay was the worst aspect of the movie, predictable, over-wrought and unbelievable.

My late wife was superb at sleuthing out “surprise” endings of movies by the half-way mark or earlier; this time I felt like I was channeling her spirit because I guessed the movie’s ending (and woke propaganda mission) the second the key character showed up. I also thought, “Oh no, really? They are stooping to this?” Indeed they were.

“Conclave” is, ultimately, trivial and soap opera-ish, no better and less entertaining than the loony movie version of Dan Brown’s follow-up to “The Da Vinci Code,” “Angels and Demons.” Along the way to an anti-climax, we get more of the “white man bad/black man victim,” pro-LGTBQ+ proselytizing that Tinseltown has been addicted to for years.

I’ll give “Conclave” this: it was better than “Snow White” and a lot shorter than “Wicked.”

Thoughts and Musings While Re-Watching “It’s a Mad, Mad, Mad, Mad, World,” Continued: Yes, It’s An Ethics Movie

/ Jack Marshall / 1 Comment

Before I leave the first installment of this post and move on to the film’s ethical significance, I should mention that “It’s a Mad, Mad, Mad, Mad, World” caught a cultural wave perfectly, accounting for its box office success. In this it was just lucky, and that moment in time is now long gone, which is why the film appeals to me from a historical perspective more than as entertainment.

There have been many attempts to mine the same property for laughs, and none of the offspring of IAMMMMW have equaled its model in reputation or box office success. Blake Edward’s “The Great Race,” just two years later, was billed as the most expensive movie comedy ever made, and bombed. (Peter Falk is in both IAMMMMW and “The Great Race.”) In 2001, the “Airplane!” gang made “Rat Race,” which was obviously inspired by Kramer’s opus. It had a less starry cast (of course) and made a profit, but was generally regarded as a second rate (second rat?) version of the original. “Scavanger Hunt was a 1979 rip-off with a more IAMMMMW-like ensemble cast, and was a flop. Lesser attempts to recycle the film’s formula, “Midnight Madness” and “Million Dollar Mystery” (note the “m” alliterations) were even more embarrassing failures.

On to the ethics…Much was made of the fact that director Stanley Kramer had never directed or produced a comedy before. In fact, his career output was ostentatiously serious, and often criticized as preachy and overly preoccupied with moral-ethical conflicts. Among his most famous movies are “Judgement at Nuremberg,” “Guess Who’s Coming to Dinner,” “Inherit the Wind,” “The Defiant Ones,” “On the Beach” and “Ship of Fools.” I’m sure that part of Kramer’s motivation for directing a huge slapstick comedy was to show his versatility, just as Spielberg felt that he needed to direct a movie musical with “West Side Story.” However, viewed in light of the times and Kramer’s artistic sensibilities, IAMMMMW now seems schizophrenic, a silly comedy with serious social commentary…and both parts undermine each other.

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Ethics Movie: “The Company You Keep”

/ Jack Marshall / 11 Comments

2012’s “The Company You Keep” was the last film directed by Robert Redford, which tells you something. Redford is an excellent director but often not a commercially popular one: this movie, about aging Sixties radicals and their slow-dawning realization (or not) that their “movement” was ethically and logically flawed did not do well at the box office, and after his previous ethics movie (“The Conspirator,” which I posted about here) bombed, Redford’s days of getting studios to bet on his work were over.

“The Company You Keep” is not as good as “The Conspirator,” but it is surprisingly relevant in 2025 as we watch the American Left struggling with its hypocrisy, foolish utopianism and increasingly obvious hatred for its own country. Redford plays a former Weatherman (“The Weathermen” was the violent faction of the Students for Democratic Action) who has been in hiding in plain sight since a domestic terrorism action by the group turned fatal. When his long-standing alternate identity as a prominent lawyer is outed by an idealistic young journalist, Redford goes on the run. In the process he encounters former fellow-revolutionaries, some of whom still burn for the cause.

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Yes, I’m Thinking About “The Greatest Show on Earth” Again…

/ Jack Marshall / 3 Comments

I checked: I’ve made various comments about 1952’s The Best Picture Oscar winner “The Greatest Show on Earth” over the years, but I never mentioned that it’s an ethics movie. The Cecil B. DeMille wide-screen spectacular is often cited by current critics as the worst “Best Picture” ever, which tells you a lot about movie critics and the leftward biases of our so-called elite.

I just watched the end of the film because it happened to be showing on MGM+ this morning, catching the film right after its DeMille trademarked train wreck, which both Steven Spielberg and George Lucas have said helped inspire them to be movie-makers. The circus train suffers a disastrous crash that devastates performers, animals and equipment, and the company, already in dire financial straits, appears to be doomed. But in the best “the show must go on,” “fight, fight, fight!,” “Don’t give up the ship!,” “I have not yet begun to fight!,” “Victory or death!” (It’s Alamo week, remember!) American tradition, the performers rally around their grievously wounded boss (pre-Moses Charlton Heston) and put on a ramshackle show in an open field after parading through the nearby town to gather an audience. Meanwhile, Jimmy Stewart, as a clown who is secretly a doctor on the run from law enforcement after his mercy killing of his wife, reveals his identity to a police detective by using his skills as a surgeon to save Heston’s life.

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The 2024 Ethics Companion To “Miracle On 34th Street” [Updated, Expanded and with a New Introduction]

/ Jack Marshall / 7 Comments

2024 Introduction

When I look back on what I wrote to introduce the greatest of all Christmas movies last year, I almost have to laugh, if I could laugh.

“What makes ‘Miracle on 34th Street” the most appropriate classic Christmas film for 2023 is its theme: the importance of conquering cynicism and  pessimism, and always keeping one’s mind and heart open to hope…. I know my year has been especially miserable on multiple fronts. Nonetheless, I remain, at heart, about 12 years old. The same things make me laugh; my level of optimism remains high; I believe in this nation’s miraculous ability to somehow get out of the fixes it gets itself into; I’m still a romantic, and, yes, I think with a little luck and one more starting pitcher, the Boston Red Sox can make it to the World Series next year. I am being constantly confronted with old friends, some much younger than me, who have suddenly decided to be old: they think old, they act old, and they seem to have given up the future as irrelevant. The Santa Claus myth represents faith in the possible, or rather the impossible. Yes, its easier when you are a child, but it is worth the fight to never lose the part of you that still believes in magic and miracles.”

What a joke on me. My wife died unexpectedly in February. Hidden financial horrors were uncovered that she had been hiding from me. My son decided he was trans; a lot of those friends who were acting old ended up acting dead, and rather convincingly. I lost my last connection to my mother’s family when Aunt Bea died at 96; my mentor and Most Unforgettable Person, Tom Donohue of the U.S. Chamber of Commerce, died as well; one of my closest lawyer clients died too. Another loss that I felt: Luis Taint, the Boston Red Sox pitcher who was at the center of some of my most cherished baseball memories, died this year. A big theatrical project I had been working on for six months was abruptly cancelled (the theater was condemned as structurally unsound). Worst of all, the Red Sox had a star-crossed, frustrating season: if there’s anything worse than watching baseball alone, it’s watching your team lose alone.

Indeed, I do, as Auntie Mame sang, “need a little Christmas,”  but it is very little indeed this year. Luckily for me, there’s a song for that: “Have Yourself a Merry Little Christmas,” from “Meet Me in St. Louis.”

So the Christmas movies are about it for me this holiday season. I’ve seen “It’s a Wonderful Life,” “White Christmas,” my favorite version of “A Christmas Carol,” “The Santa Clause,” and even “Holiday Inn.” (No, “Die Hard” and “Die Hard 2” are not “Christmas Movies.) “Elf” doesn’t make the cut; I suppose that I’ll see “A Christmas Story” eventually, though I am sick of it, and Grace’s complaints about Melinda Dillon’s hair haunt me. I will revisit “Home Alone” and “Home Alone 2.” I’m saving “Miracle on 34th Street” for tonight, Christmas Eve.

I confess, I believed n Santa Claus until I was 12. I didn’t want to give the fantasy up: I loved magic, and my parents always tried to make the season magical. (More of that later.) Grace and I tried to do the same with Grant, now “Samantha,” but he was a non-believer by the third grade. Is there anything more joyful to see than the look on a child’s face as he or she sees what Santa has delivered? Will anything feel that wonderful again?

“Miracle on 34th Street” is an ethics movie in part because its artists committed to telling a magical story and charming audiences by working as an ensemble selflessly and  efficiently. The director,  George Seaton also  wrote the screenplay, and it won him an Oscar. He cast his movie brilliantly, and making the correct but bold decision to stick with a matter-of-fact, realistic, unadorned style that keeps the story grounded in reality while it spins off into fantasy.

“Miracle on 34th Street” is about the importance of believing in good things, hopeful things, even impossible things. The movie reminds us that wonderful things can happen even when they seem impossible, and that life is better when we believe that every day of our lives. I’m trying.

One thing this film does well is to concentrate on the secular holiday without any allusions to the religious holy day, but not being obnoxious about it. “It’s a Wonderful Life” straddles the line very cleverly: it begins in heaven, after all. All the “A Christmas Carol” films include Bob Cratchit telling his wife that Tiny Tim mused about how his disability reminded people of Jesus’s miracles at Christmastime, and that’s Dickens’ only reference to Jesus in his story. On the offensive side is the Rankin-Bass animated “Rudolph the Red-Nosed Reindeer”—I can’t believe they still show that thing—when the “stormy Christmas Eve” causes Santa to decide to “cancel Christmas.” I’d say that’s above Santa’s pay grade, wouldn’t you agree? It also suggests that Christmas is only about gifts and children. (Do parents today explain that the singing snowman who narrates the story is based on (and looks like) the real person who also sings the most memorable songs? They should. Burl Ives had a fascinating life and a varied career, and those kids will probably be hearing him sing “Have a Holly Jolly Christmas” for the rest of theirs.

Last year I discussed the many remakes and the fact that they all fail to equal the original. I wonder why this, of all the Christmas classics, has inspired so many remakes. Nobody would dare remake “It’s a Wonderful Life.” I think it’s because the story connects with children as well as adults, and there is a sense that a black and white movie very obviously set in the 1940s seems too distant. 

Interestingly, all of the perennial Christmas movies have been made into stage musicals of varying success—“White Christmas,” “It’s a Wonderful Life,” “A Christmas Story,” “Elf”—- but “Miracle on 34th Street” flopped so badly when Meredith Willson [“The Music Man”] adapted it as “Here’s Love” on Broadway that nobody has tried again. The show included the song, “It’s Beginning to Look a Lot Like Christmas,” which Willson wrote long before the show was assembled, and it was still the best song in the weak score. At one point John Payne took over the part of Fred Gailey, reprising his role in the film. But as with all the movie remakes, the show missed Edmund Gwynn, the best Kris Kringle of them all.
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An Ethics Movie Where The Ethical Choice Is Clear But The Hero Doesn’t Make It

/ Jack Marshall / 13 Comments

Netflix has a Christmas movie (well, if “Die Hard is a Christmas movie, this is) about a TSA agent caught up in a diabolical scheme to kill all the passengers on a commercial airplane for some reason or another—that part doesn’t really matter. In “Carry On,” our hero stumbles into the plot and is made the unwilling pawn of the villains, who are ubiquitous, brilliant and high-tech. Through an earpiece, the agent learns that the love of his life who is also pregnant is being watched by the bad guys and will be murdered at any second if he doesn’t use his position to get a piece of luggage containing a device that will release nerve gas through security screening. Suspense, thrills and unexpected twists ensue.

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The Ethics Alarms 2024 “It’s A Wonderful Life” Ethics Guide, Revised, Expanded, With A New Introduction

/ Jack Marshall / 12 Comments

2024 INTRODUCTION

Last year I concluded that “It’s A Wonderful Life” really belonged in the Thanksgiving movie canon, not Christmas, but I still waited until the pre-Christmas madness to post the 2023 version. This year, I’m finally putting the classic where it belongs. I have always identified with George Bailey, though this year it is for different reasons. Like George, I often feel like I didn’t achieve and experience what I could and should have, that my choices too often didn’t pan out, that I barely missed some breaks (but not all) that I needed when I most needed them. This year, which has been clouded since Leap Year by the sudden death of my wife, best friend, business partner and #1 fan—that’s Grace Elizabeth Bowen Marshall in all categories—I have never felt the lesson of “It’s A Wonderful Life” more powerfully: “No man is a failure who has friends.” I don’t believe that, frankly, but my friends, neighbors, clients, colleagues and blog readers have sustained me generously in this difficult period, and I will always be grateful for that.

Last year I wrote, “This is a tough time for my business and my family, and a lot of the problems are the result of my own selfish choices and mistakes as well as my hard-wired proclivity to cause trouble and not back down after the consequences start becoming clear. I’m seriously considering not celebrating Christmas this year, and we have always been a big Christmas family, because several recent disasters  require the money to go elsewhere.” In retrospect, this reminds me of a joke my father was fond of: “One day as I sat musing, sad and lonely without a friend, a voice came to me from out of the gloom saying, ‘Cheer up. Things could be worse.’ So I cheered up and sure enough—things got worse.” Everything got much worse after I wrote that last year.

I re-watched the movie last night in preparation for revising the Guide. It made me cry at the end, because Grace so loved the final scene, and would tear up at Harry Bailey’s toast, “To my big brother George, the luckiest man on earth.”

Frank Capra must have felt that the movie was bitterly ironic. It was a huge flop, and destroyed his infant project with some other prominent directors to launch a production company called “Liberty” because it would give directors the liberty to put their artistic visions on the screen without interference from the studios. “It’s A Wonderful Life” was the first and last film produced by Liberty: 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, though 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 in small town America, but his trademark, using familiar tunes and folk melodies, is certainly on 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.

As usual, I noticed details in the film this time that escaped me in earlier viewings, and for better or worse, I have appended the Guide accordingly. I also must say that although I wrote the Guide, I enjoyed reading it, and, amazingly, some of my own words made me feel a little better at a time when my spirits are near an all-time low. In particular, the section on regret resonated with me. Good point, Jack!

Now 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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More Thoughts About “The Box”….

/ Jack Marshall / 8 Comments

This is very strange. I wrote about the ethics horror movie “The Box” just this year, yet had no memory of writing the post or seeing the whole movie, despite stating in the post that I had. Then I noticed that the post was dated February 28, the day before I found my wife’s body in our living room. Apparently the shock erased some files.

Moreover, it is creepy that I posted on a movie about a couple that pushes a button on a mysterious box after being told that doing so will kill a stranger but also result in their receiving a million tax-free dollars from an anonymous authority, and shortly thereafter discovered that my own wife had died of unknown causes.

Did somebody push that button?

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Thinking About “The Box”

/ Jack Marshall / 13 Comments

I recently re-watched “The Box,” which my wife and I had first seen more than a decade ago. It is a horror movie based on the 1970 short story “Button, Button” by Richard Matheson, one of the writers of the original “Twilight Zone,” and Matheson’s conceit, a mash-up of science fiction and ethics as his work often was, had been turned into an episode of one of the reboots of Rod Serling’s creation.

If I recall, I didn’t make it to the end of the film the first time, because the set-up was so annoying. A strange, disfigured man shows up at a couple’s door with a strange box in his hands. It consists of a red button under a locked glass dome that must be opened with a key. The man explains to the stunned wife (her husband is at work, getting bad news about his job) that they have been chosen to be the recipients of a gift. All they have to do is push the red button, and the man will return to hand over a brief case filled with a million dollars, which will be tax free. However, when the button is pushed, someone, somewhere in the world, will die. He assures the wife that they won’t know the doomed individual. They have only 24 hours to consider the offer, at the conclusion of which the man will return and take the box away to offer to someone else.

It is, obviously, an ethics hypothetical that has been posed in many different ways through the years. What bothered me originally, and worries me now, is that anyone I would care to have in my community would ever push the button. (As you can guess, one of the couple does—“Why not? It’s just a box…” and a chain reaction is launched that causes havoc.)

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