#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – As a parting shot, fired reporter Ann Mitchell prints a fake letter from unemployed “John Doe,” who threatens suicide in protest of social ills. The paper is forced to rehire Ann and hires John Willoughby to impersonate “Doe.” Ann and her bosses cynically milk the story for all it’s worth, until the made-up “John Doe” philosophy starts a whole political movement. At last everyone, even Ann, takes her creation seriously…but publisher D.B. Norton has a secret plan.
Plot: As a parting shot, fired reporter Ann Mitchell prints a fake letter from unemployed “John Doe,” who threatens suicide in protest of social ills. The paper is forced to rehire Ann and hires John Willoughby to impersonate “Doe.” Ann and her bosses cynically milk the story for all it’s worth, until the made-up “John Doe” philosophy starts a whole political movement.
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|7.6/10 Votes: 12,314|
|7.4 Votes: 138 Popularity: 10.003|
Who is John Doe?
This film is a classic example of a movie working effortlessly on a range of different layers. Capra weaves his well-loved everyman through a tale of both simplicity and political intrigue, taking in the American depression and Biblical references along the way, and comes up with messages that remain startlingly relevant today, over six decades after this movie’s release.
Gary Cooper delivers a masterful performance, and in keeping with the film, achieves this with a deceptively easy touch. He is supported by a peerless cast which includes Barbara Stanwyck and Walter Brennan, both on top form.
Perhaps most impressive is the illustration of Capra’s democratic ideal by including the views of the audience throughout the story. You can find all your views being voiced by different characters at various points in the tale, opening the question of just who is the average everyman that Capra is seeking to show? – and how do they relate to you?
This movie is ten stars all over. Even for keen Capra fans, the expectation is surpassed by the final delivery. Thoroughly recommended.
America Versus D. B. Norton
MEET JOHN DOE is a natural extension of Frank Capra’s populist view of American society and politics following MR. DEEDS GOES TO TOWN and MR. SMITH GOES TO WASHINGTON. It in turn would be built upon in IT’S A WONDERFUL LIFE and STATE OF THE UNION. All these films center upon a central figure (Gary Cooper, Jimmy Stewart, Spencer Tracy) who finds himself confronting figures of influence or power or stature who may threaten him (and through him the society) or who may nearly pervert the strengths of the hero so that they become defects (Douglas Dumbrille as Cedar the successful shyster lawyer in DEEDS; Edward Arnold and Claude Rains in SMITH; Arnold again in DOE – more below; Lionel Barrymore in LIFE; Angela Lansbury in UNION). It is rare when any of these villains demonstrate a human trait that is sympathetic. Lansbury comes closest at the start of UNION when she realizes her dying father (Lewis Stone) is going to commit suicide to end his pain, and tightly controls her own emotions as she leaves him for the last time. But the men rarely show these traits if at all. Arnold is sympathetic towards the end of another Capra film, YOU CAN’T TAKE IT WITH YOU – he comes to recognize he has lost his spiritual compass when his oldest friend and now recent enemy H.B. Warner dies confronting him for being so ruthless in business. But that is really rare.
I suppose it is both a strength and weakness in the Capra films. The director was trying to demonstrate the resilience of American democracy and character despite threats. Certainly, despite moments of doubts, the heroes all remain optimistic and beat back their enemies. But it has been shown that Capra is so set on making his heroes larger than life that the people who support them are usually very weak on their own. Look at the small businessmen who depend on Mr. Deeds loan plan for his fortune to help them in the depression. When Deeds looks like he is tired of all of Cedar’s tricks and willing to just give up, a series of these scared rabbit businessmen start saying, “No, Mr. Deeds, you can’t give up!” Or how the Congressional pages keep turning from supportive to rejective of Jefferson Smith when “evidence” of his bribery is produced. Or how George Bailey’s Uncle Billy (Thomas Mitchell) is rather absent minded (he is the one who carelessly drops the deposit money into Potter’s lap at the bank). The fact is, for any democracy to succeed you need a fair minded and intelligent (and courageous) public to support a point of view – and that never shows up in Capra films until the hero makes his last stand.
Which is why the villains are more impressive at times. Edward Arnold in particular as would – be Fascist leader/tycoon D.B. Norton. With his quiet demeanor, and sharp mind (Arnold lets his eyes reveal more of his viewpoint than the tone of his voice), he is the most dangerous figure in Capra’s political movies. He sets his financial muscles into action, taking over companies (like the newspaper at the start of MEET JOHN DOE) and examines how the staff is working out, and notes the clever marketing idea of Barbara Stanwyck in using Cooper as a mouthpiece for social commentary. Gradually he realizes that Cooper is creating a real movement here – and he might (with prompting) push that movement into the hands of D.B.Norton.
The key moment for his use of eyes and eye contact is (paradoxically) a simple action that is not really staring at anyone. Arnold explains to James Gleason and Stanwyck what he intends Cooper to say on a national radio hook-up that he’ll stage: that Cooper is going to recommend his million of followers in the “John Doe” clubs to support Norton for the Presidency. While Arnold tells this to them, he has taken off his pince-nez eyeglasses and is quietly polishing the lenses – like he is replenishing the strength of those evil eyes of his.
In comparison to the goal oriented Norton Arnold’s Jim Taylor in MR. SMITH is corrupt but more accessible. Taylor (in a brief scene) is shown with two cohorts having a night’s entertainment with some women (presumably high class call girls – they are being offered jewelry as an incentive). Norton’s idea of an evening is to have a dinner party of all his cronies, to whom he explains what plans he has for American society (with their assistance) once he gets elected! Norton and Taylor are both serious in what they do, but Taylor can step back a moment and enjoy himself.
Capra was assisted by good script writers, but he and they must have had some figures in mind. Publisher William Randolph Hearst comes to mind, with his repeated attempts to jump start his political career (he had been a Congressman and a serious Presidential contender in 1904) up to the 1920s. Similarly there was Henry Ford, who had been a candidate for the U.S. Senate in a controversial election defeat in 1922, and then a strong Democratic Presidential possibility in 1924. By 1941 both men were considered reactionaries, somewhat unfairly in Hearst’s case. But in retrospect neither of them was as totally power hungry (or control freaky) as Norton is. He remains Capra’s blackest character, and one of Arnold’s finest characterizations.
Original Language en
Runtime 2 hr 15 min (135 min), 2 hr 2 min (122 min) (USA)
Genre Comedy, Drama, Romance
Director Frank Capra
Writer Richard Connell (based on a story by), Robert Presnell Sr. (based on a story by), Robert Riskin (screen play)
Actors Gary Cooper, Barbara Stanwyck, Edward Arnold, Walter Brennan
Awards Nominated for 1 Oscar. Another 1 win.
Production Company Frank Capra Productions
Sound Mix Mono (RCA Sound System)
Aspect Ratio 1.37 : 1
Film Length 3,371.7 m (UK), 3,386 m (14 reels) (USA)
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm