Plot: A broke newspaper makes a naive hobo into a folk political hero, but shadowy forces are out to manipulate his influence to their own ends.
Remember how in The Big Lebowski, the titular tycoon hollers "The bums always lose!" at the Dude? Well, the bums win (sort of) in Capra's Meet John Doe. Barbara Stanwyck stars as a reporter who, trying to save her job after a takeover, invents a suicidal working stiff who uses her column to detail his discontent with the world around him. Her 'John Doe' unexpectedly catches on in a big way, so the newspaper finds a suitably malleable hobo, played by Gary Cooper, to take on the persona of the working-class philosopher. However, as the movement grows bigger and bigger, with inspired citizens forming John Doe clubs and organising a third party, Cooper begins to feel uncomfortable with his new, artificial, influence. Added to this, the newspaper's sinister proprietor (go-to guy for evil politician/businessman roles, Edward Arnold) seems to have shadowy designs of his own for the new movement.
The strange thing about the movie is that it is an unmistakebaly political animal, and yet we are never quite sure what angle it's coming from. John Doe's message of community spirit, responsibility and mutual assistance could be read as a paean either to the left or the right of the spectrum. Is he advocating a libertarian/conservative creed of individual responsibility, self-reliance and community rule over big government? Or is he painting a socialist paradise of sharing and brotherhood? In fact, the clever thing is that it doesn't really matter what school of political thought Doe is espousing, if any, because the film is really about something else altogether - the frighteningly simple manipulation of the masses by perceived 'saviours'. As America girded its loins to join the slog against Hitler's Reich, this theme could not have been more pertinent.
While we're at it, let's get one thing straight - this is not Capracorn (a term which I dislike intensely anyway). It has moments of over-sentimentality, yes. The ever-reliable Regis Toomey's beautifully delivered monologue about reforming his neighbourhood must count, as must some of the dialogue in the closing scene (which I think can be excused, given the circumstances). However, Meet John Doe is in essence a hard-edged parable for modern life in the fashion of It's A Wonderful Life (which is another film whose cheeriness is overrated and darkness overlooked). John might be feted and idolised by the populace at first, but this is not conceived by Capra purely as some sort of tribute to popular solidarity as it first appears to be. The scene where John, addressing a rally, is finally exposed as a fraud is a chilling reminder of the fickle nature of popularity. Suddenly, the same good ol' American folks who were cheering his name as a symbol for peace and harmony are baying for his blood, and it's a stomach-churning moment to watch, masterfully executed. No wonder, then, given this recognition of the inconstancy of the masses, that the creeping Fascist shadow of Arnold's newspaper owner is so terrifying. When he barks “What the American people need is an iron hand!” you're terrified they might just get it.
Stanwyck and Cooper are superb, with the amazing chemistry of Ball of Fire still lurking under the dramatic surface. No one could ingratiate themselves to an audience as effortlessly as Coop, conveying a sense of decency and simplicity before he even opens his mouth. His performance relies a great deal on physicality - he spends much of the film literally shifting with discomfort at the role he is required to play, watching with a sort of glum fatality as things spiral hopelessly out of hand. Stanwyck picks up the slack, energy-wise, as she generally did for the laid-back actors she tended to get paired with, dashing around full of vim and vigour in full throttle old-timey reporter mode. Her bewilderment and fear when she sees that a throwaway story she created out of casual self-interest for meagre profit is turning into something else altogether is extraordinarily well-conveyed, culminating in a famous rooftop sequence which ought to tug at your heartstrings, even as the politcal commentary works at your brain.
8.5/10
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