Mr. Smith Goes to Washington: Wikis

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Mr. Smith Goes to Washington

theatrical poster
Directed by Frank Capra
Produced by Frank Capra
Written by Story:
Lewis R. Foster
Screenplay:
Sidney Buchman
Narrated by Colin James Mackey
Starring James Stewart
Jean Arthur
Harry Carey
Claude Rains
Music by Dimitri Tiomkin
Cinematography Joseph Walker
Editing by Al Clark
Gene Havlick
Distributed by Columbia Pictures
Release date(s) October 17 1939
(DC premiere)
October 19
(general US)
June 1 1949
(US re-release)
Running time 129 minutes
Country United States
Language English
Budget $1,500,000 (est.)

Mr. Smith Goes to Washington is a 1939 American drama film starring James Stewart and Jean Arthur, about one man's effect on American politics. It was directed by Frank Capra, his last film for Columbia Pictures, the studio where he made his name[1] and written by Sidney Buchman, based on Lewis R. Foster's unpublished story.[2] Mr. Smith Goes to Washington was controversial when it was released, but also successful at the box office, and made Stewart a major movie star.[1] The film features a bevy of well-known supporting actors, among them Claude Rains, Edward Arnold, Guy Kibbee, Thomas Mitchell and Beulah Bondi.

Mr. Smith Goes to Washington was nominated for 11 Academy Awards, winning for Best Original Story.[3] In 1989, the Library of Congress added Mr. Smith Goes to Washington to the United States National Film Registry, for being "culturally, historically, or aesthetically significant."

Contents

Plot

James Stewart as "Jefferson Smith"

The governor of an unnamed western state, Hubert "Happy" Hopper (Guy Kibbee), has to pick a replacement for recently deceased U.S. Senator Sam Foley. His corrupt political boss, Jim Taylor (Edward Arnold), pressures Hopper to choose his handpicked stooge, while popular committees want a reformer. The governor's children want him to select Jefferson Smith (James Stewart), the head of the Boy Rangers. Unable to make up his mind, Hopper decides to flip a coin. When it lands on its side – and next to a newspaper story on one of Smith's accomplishments – he chooses Smith, calculating that his wholesome image will please the people while his naiveté will make him easy to manipulate.

Smith is taken under the wing of the publicly esteemed, but secretly crooked, Senator Joseph Paine (Claude Rains), who was Smith's late father's oldest and best friend, and he develops an immediate attraction to the senator's daughter, Susan (Astrid Allwyn). The unforgiving Washington press quickly labels Smith a bumpkin, with no business being a senator. Paine, to keep Smith busy, suggests he propose a bill.

Smith comes up with legislation that would authorize a federal government loan to buy some land in his home state for a national boys' camp, to be paid back by youngsters across America. Donations pour in immediately. However, the proposed campsite is already part of a dam-building graft scheme included in a Public Works bill framed by the Taylor political machine and supported by Senator Paine.

Unwilling to crucify the worshipful Smith so that their graft plan will go through, Paine tells Taylor he wants out, but Taylor reminds him that Paine is in power primarily through Taylor's influence. Through Paine, the machine accuses Smith of trying to profit from his bill by producing fraudulent evidence that Smith owns the land in question. Smith is too shocked by Paine's betrayal to defend himself, and runs away. However, his chief of staff, Clarissa Saunders (Jean Arthur), has come to believe in him, and talks him into launching a filibuster to postpone the Works bill and prove his innocence on the Senate floor just before the vote to expel him. While Smith talks non-stop, his constituents try to rally around him, but the entrenched opposition is too powerful, and all attempts are crushed. Due to influence of the Taylor "machine", on his orders, newspapers and radio stations in Smith's home state refuse to report what Smith has to say and even twist the facts against the Senator. An effort by the Boy Rangers to spread the news results in vicious attacks on the children by Taylor's minions.

Although all hope seems lost, the senators begin to pay attention as Smith approaches utter exhaustion. Paine has one last card up his sleeve. He brings in bins of letters and telegrams from Smith's home state from people demanding his expulsion. Nearly broken by the news, Smith finds a small ray of hope in a friendly smile from the President of the Senate (Harry Carey). Smith vows to press on until people believe him, but immediately collapses in a faint. Overcome with guilt, Paine leaves the Senate chamber and attempts to kill himself. When he is stopped, he bursts back into the Senate chamber, loudly confesses to the whole scheme, and affirms Smith's innocence.

Cast

James Stewart and Jean Arthur in a taxicab
Actor Role
James Stewart Jefferson Smith
Jean Arthur Clarissa Saunders
Claude Rains Senator Joseph Harrison Paine
Edward Arnold Jim Taylor
Guy Kibbee Governor Hubert "Happy" Hopper
Thomas Mitchell Diz Moore
Eugene Pallette Chick McGann
Beulah Bondi Ma Smith
H.B. Warner Senator Agnew
Harry Carey President of the Senate
Astrid Allwyn Susan Paine
Cast notes

Production

Columbia Pictures originally purchased Lewis R. Foster's unpublished story, variously called The Gentleman from Montana and The Gentleman from Wyoming, as a vehicle for Ralph Bellamy, but once Frank Capra came onboard as director – after Rouben Mamoulian had expressed interest – the film was to be a sequel to his Mr. Deeds Goes to Town, called Mr. Deeds Goes to Washington, with Gary Cooper reprising his role as Longfellow Deeds.[4] Because Cooper was unavailable, Capra then "saw it immediately as a vehicle for Jimmy Stewart and Jean Arthur,"[5] and Stewart was borrowed from MGM.[2] Capra said of Stewart: ""I knew he would make a hell of a Mr. Smith... He looked like the country kid, the idealist. It was very close to him."[6]

Although a youth group is featured in the story, the Boy Scouts of America refused to allow their name to be used in the film and instead the fanciful "Boy Rangers" was used.[7]

In January 1938, both Paramount Pictures and MGM had submitted Foster's story to the censors at the Hays Office, probably indicating that both studios had interest in the project before Columbia purchased it. Joseph I. Breen, the head of that office, warned the studios:

[W]e would urge most earnestly that you take serious counsel before embarking on the production of any motion picture based on this story. It looks to us like one that might well be loaded with dynamite, both for the motion picture industry, and for the country at large.

Breen specifically objected to

the generally unflattering portrayal of our system of Government, which might well lead to such a picture being considered, both here, and more particularly abroad, as a covert attack on the Democratic form of government.

and warned that the film should make clear that

the Senate is made up of a group of fine, upstanding citizens, who labor long and tirelessly for the best interests of the nation...

Later, after the screenplay had been written and submitted, Breen reversed course, saying of the film that

It is a grand yarn that will do a great deal of good for all those who see it and, in my judgment, it is particularly fortunate that this kind of story is to be made at this time. Out of all Senator Jeff's difficulties there has been evolved the importance of a democracy and there is splendidly emphasized the rich and glorious heritage which is ours and which comes when you have a government 'of the people, by the people, and for the people.'[2]

The film was in production from April 3 1939 to July 7 of that year.[8] Some location shooting took place in Washington, DC, at Union Station and at the United States Capitol, as well as other locations for background use.[9]

In the studio, to ensure authenticity, an elaborate set was created, consisting of Senate committee rooms, cloak rooms, hotel suites as well as specific Washington, DC monuments, all based on a trip Capra and his crew made to the capital. Even the Press Club of Washington was reproduced in minute detail,[2][10] but the major effort went into a faithful reproduction of the Senate Chamber on the Columbia lot. James D. Preston, a former superintendent of the Senate gallery, acted as technical director for the Senate set, as well as advising on political protocol.[2] The production also utilized the "New York street set" on the Warner Bros. lot, using a thousand extras when that scene was shot.[2]

The ending of the film was apparently changed at some point, as the original program describes Stewart and Arthur returning to Mr. Smith's hometown, where they are met by a big parade, with the implication that they are married and starting a family.[2] In addition, the Taylor political machine was shown being crushed, Stewart visited Claude Rains, on a motorcycle, and forgiving him, and a visit to Smith's mother. Some of this footage can be seen in the film's trailer.[11]

Impact

When it was first released – the film premiered in Constitution Hall in Washington, D.C., on October 17, 1939, sponsored by the National Press Club, an event to which 4000 guests were invited, including 45 senators[6] – Mr. Smith Goes to Washington was attacked by the Washington press, and politicians in the U.S. Congress, as anti-American and pro-Communist for its portrayal of corruption in the American government.[12] While Capra claims in his autobiography that some senators walked out of the premiere, contemporary press accounts are unclear about whether this occurred or not, or whether senators yelled back at the screen during the film.[6]

Senator Jefferson Smith addresses inattentive Senators

It is known that Alben W. Barkley, the Senate Majority Leader, called the film "silly and stupid," and said it "makes the Senate look like a bunch of crooks."[2] He also remarked that the film was "a grotesque distortion" of the Senate, "as grotesque as anything ever seen! Imagine the Vice President of the United States winking at a pretty girl in the gallery in order to encourage a filibuster!" Barkley thought the film "...showed the Senate as the biggest aggregation of nincompoops on record!"[6]

Pete Harrison, a respected journalist, suggested that the Senate pass a bill allowing theatre owners to refuse to show films that "were not in the best interest of our country."[6] That did not happen, but one of the ways that some senators attempted to retaliate for the damage they felt the film had done to the reputation of their institution was by pushing the passage of the Neely Anti-Block Booking Bill, which eventually led to the breakup of the studio-owned theater chains in the late 1940s. Columbia responded by distributing a program which put forward the film's patriotism and support of democracy, and publicized the film's many positive reviews.[2]

Other objections were voiced as well. Joseph P. Kennedy, the American Ambassador to Great Britain, wrote to Capra and Columbia head Harry Cohn to say that he feared the film would damage "America's prestige in Europe", and because of this urged that it be withdrawn from European release. Capra and Cohn responded citing the film's review, which mollified Kennedy to the extent that he never followed up, although he privately still had doubts about the film.[2]

The film was banned in Nazi Germany, Fascist Italy, Soviet Russia and Falangist Spain[13]{{unreliable source?--> According to Capra, the film was also dubbed in certain European countries to alter the message of the film so it conformed with official ideology.[13]

When a ban on American films was imposed in German-occupied France in 1942, some theaters chose to show Mr. Smith Goes to Washington as the last movie before the ban went into effect. One theater owner in Paris reportedly screened the film nonstop for 30 days after the ban was announced.[14]

The critical response to the film was more measured that the reaction by politicians, domestic and foreign. The critic for the New York Times, for instance, Frank S. Nugent, wrote that

[Capra] is operating, of course, under the protection of that unwritten clause in the Bill of Rights entitling every voting citizen to at least one free swing at the Senate. Mr. Capra's swing is from the floor and in the best of humor; if it fails to rock the august body to its heels — from laughter as much as from injured dignity — it won't be his fault but the Senate's, and we should really begin to worry about the upper house.[6]

Mr. Smith Goes to Washington has been called one of the quintessential whistleblower films in American history. Dr. James Murtagh and Dr. Jeffrey Wigand cited this film as a seminal event in U.S. history at the first "Whistleblower Week in Washington" (May 13-19, 2007).[15][16]

The film has often been listed as among Capra's best, but it has been noted that it

marked a turning point in Capra's vision of the world, from nervous optimism to a darker, more pessimistic tone. Beginning with American Madness in 1932, such Capra films as Lady for a Day, It Happened One Night, Mr. Deeds Goes to Town, and You Can't Take It With You had trumpeted their belief in the decency of the common man. In Mr. Smith Goes to Washington, however, the decent common man is surrounded by the most venal, petty, and thuggish group of yahoos ever to pass as decent society in a Capra movie. Everyone in the film -- except for Jefferson Smith and his tiny cadre of believers -- is either in the pay of the political machine run by Edward Arnold's James Taylor or complicit in Taylor's corruption through their silence, and they all sit by as innocent people, including children, are brutalized and intimidated, rights are violated, and the government is brought to a halt.[17]

Nevertheless, Smith's filibuster and the tacit encouragement of the Senate President are both emblematic of the director's belief in the difference that one individual can make. This theme would be expanded further in Capra's It's a Wonderful Life and other films.

Awards and nominations

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Academy Awards

Mr. Smith Goes to Washington was nominated for 11 Academy Awards but only won one.

Award Result Winner
Outstanding Production Nominated Columbia Pictures (Frank Capra)
Winner was David O. Selznick - Gone with the Wind
Best Director Nominated Frank Capra
Winner was Victor Fleming - Gone with the Wind
Best Actor Nominated Jimmy Stewart
Winner was Robert Donat - Goodbye, Mr. Chips
Best Writing, Screenplay Nominated Sidney Buchman
Winner was Sidney Howard - Gone with the Wind
Best Writing, Original Story Won Lewis R. Foster
Best Supporting Actor Nominated Harry Carey
Winner was Thomas Mitchell - Stagecoach
Best Supporting Actor Nominated Claude Rains
Winner was Thomas Mitchell - Stagecoach
Best Art Direction Nominated Lionel Banks
Winner was Lyle R. Wheeler - Gone with the Wind
Best Film Editing Nominated Gene Havlick, Al Clark
Winner was Hal C. Kern, James E. Mewcom - Gone with the Wind
Best Music, Scoring Nominated Dimitri Tiomkin
Winner was Herbert Stothart - The Wizard of Oz
Best Sound Recording Nominated John P. Livadary
Winner was Bernard B. Brown - When Tomorrow Comes

Other honors

American Film Institute recognition

Remakes

In 1949, Columbia planned, but never actually produced, a sequel to Mr. Smith Goes to Washington, called Mr. Smith Starts a Riot. They also considered doing a gender-reversed remake in 1952, with Jane Wyman playing the lead role.[2]

A television series of the same name, Mr. Smith Goes to Washington, ran on ABC during the 1962-1963 season, starring Fess Parker, Sandra Warner, and Red Foley. In 1977, Tom Laughlin remade the film as Billy Jack Goes to Washington, part of the Billy Jack series.[2] It was not a success. It was also loosely remade as 1992's The Distinguished Gentleman, starring Eddie Murphy. The film's influence can be seen on many other films that deal with the United States Congress, including Legally Blonde 2: Red, White & Blonde and Evan Almighty.

References

Notes
  1. ^ a b Brenner, Paul. "Overview." Allmovie. Retrieved: June 26, 2009.
  2. ^ a b c d e f g h i j k l m n "Notes." TCM. Retrieved: June 26, 2009.
  3. ^ " Mr. Smith Goes to Washington." NY Times. Retrieved: June 26, 2009.
  4. ^ "Notes." TCM. Note: Lewis Foster later testified during a lawsuit that he had written the story specifically with Gary Cooper in mind.
  5. ^ Sennett 1989, p. 173.
  6. ^ a b c d e f Tatara, Paul. "Mr. Smith Goes to Washington" TCM article. Retrieved: June 26, 2009.
  7. ^ "Notes." TCM. Retrieved: June 26, 2009.
  8. ^ "Overview." TCM. Retrieved: June 26, 2009.
  9. ^ "Filming locations." IMDB. Retrieved: June 26, 2009.
  10. ^ Sennett 1989, p. 175.
  11. ^ "Trivia." TCM. Retrieved: June 26, 2009.
  12. ^ Capra, Frank. The Name Above the Title
  13. ^ a b Mr. Smith Goes to Washington at the Internet Movie Database
  14. ^ "Mr. Smith Goes to Washington (1939)." ReelClassics.com. Retrieved: June 26, 2009.
  15. ^ Miles, Adam and Tom Devine. "Washington Whistleblower Week Starts Monday." whistleblower.org, 2007. Retrieved: January 10, 2010.
  16. ^ Blaylock, Dylan. "C-SPAN Highlights GAP Event in “Podcast of the Week”. whistleblower.typepad.com, May 2007. Retrieved: January 10, 2010.
  17. ^ Eder, Bruce. "Mr. Smith Goes to Washington" Allmovie review. Retrieved: June 26, 2009.
  18. ^ Brenner, Paul. "Awards." Allmovie. Retrieved: June 26, 2009.
Bibliography
  • Capra, Frank. Frank Capra, The Name Above the Title: An Autobiography. New York: The Macmillan Company, 1971. ISBN 0-30680-771-8.
  • Jones, Ken D., Arthur F. McClure and Alfred E. Twomey. The Films of James Stewart. New York: Castle Books, 1970.
  • Michael, Paul, ed. The Great Movie Book: A Comprehensive Illustrated Reference Guide to the Best-loved Films of the Sound Era. Englewood Cliffs, New Jersey: Prentice-Hall Inc., 1980. ISBN 0-13-363663-1.
  • Sennett, Ted. Hollywood's Golden Year, 1939: A Fiftieth Anniversary Celebration. New York: St. Martin's Press, 1989. ISBN 0-312-03361-3.

External links


Quotes

Up to date as of January 14, 2010

From Wikiquote

Mr. Smith Goes to Washington is a 1939 film about a naive and idealistic man who is appointed to fill a vacancy in the US Senate. His plans promptly collide with political corruption, but he doesn't back down.

Directed by Frank Capra. Written by Sidney Buchman.
Capra at his greatest! Taglines

Contents

Jefferson Smith

  • [After reading the Declaration of Independence] Now, you're not gonna have a country that can make these kind of rules work, if you haven't got men that have learned to tell human rights from a punch in the nose. [The Senate applauds] It's a funny thing about men, you know. They all start life being boys. I wouldn't be a bit surprised if some of these Senators were boys once. And that's why it seemed like a pretty good idea for me to get boys out of crowded cities and stuffy basements for a couple of months out of the year. And build their bodies and minds for a man-sized job, because those boys are gonna be behind these desks some of these days. And it seemed like a pretty good idea, getting boys from all over the country, boys of all nationalities and ways of living. Getting them together. Let them find out what makes different people tick the way they do. Because I wouldn't give you two cents for all your fancy rules if, behind them, they didn't have a little bit of plain, ordinary, everyday kindness and a - a little lookin' out for the other fella, too...That's pretty important, all that. It's just the blood and bone and sinew of this democracy that some great men handed down to the human race, that's all. But of course, if you've got to build a dam where that boys camp ought to be, to get some graft to pay off some political army or something, well that's a different thing. Oh no! If you think I'm going back there and tell those boys in my state and say: 'Look. Now fellas. Forget about it. Forget all this stuff I've been tellin' you about this land you live in is a lot of hooey. This isn't your country. It belongs to a lot of James Taylors.' Oh no! Not me! And anybody here that thinks I'm gonna do that, they've got another thing comin'. [He whistles loudly with his fingers in his mouth, startling Senators who are dozing or reading other materials] That's all right. I just wanted to find out if you still had faces. I'm sorry gentlemen. I-I know I'm being disrespectful to this honorable body, I know that. I- A guy like me should never be allowed to get in here in the first place. I know that! And I hate to stand here and try your patience like this, but EITHER I'M DEAD RIGHT OR I'M CRAZY.
  • [His voice very hoarse, from his filibuster] Just get up off the ground, that's all I ask. Get up there with that lady that's up on top of this Capitol dome, that lady that stands for liberty. Take a look at this country through her eyes if you really want to see something. And you won't just see scenery; you'll see the whole parade of what Man's carved out for himself, after centuries of fighting. Fighting for something better than just jungle law, fighting so's he can stand on his own two feet, free and decent, like he was created, no matter what his race, color, or creed. That's what you'd see. There's no place out there for graft, or greed, or lies, or compromise with human liberties. And, uh, if that's what the grownups have done with this world that was given to them, then we'd better get those boys' camps started fast and see what the kids can do. And it's not too late, because this country is bigger than the Taylors, or you, or me, or anything else. Great principles don't get lost once they come to light. They're right here; you just have to see them again!
  • I guess this is just another lost cause, Mr. Paine. All you people don't know about the lost causes. Mr. Paine does. He said once they were the only causes worth fighting for. And he fought for them once, for the only reason that any man ever fights for them. Because of just one plain simple rule: 'Love thy neighbor.' And in this world today, full of hatred, a man who knows that one rule has a great trust. You know that rule, Mr. Paine. And I loved you for it, just as my father did. And you know that you fight for the lost causes harder than for any others. Yes, you even die for them. Like a man we both knew, Mr. Paine.
  • I wouldn't give you two cents for all your fancy rules if, behind them, they didn't have a little bit of plain, ordinary, everyday kindness and a little looking out for the other fella, too.
  • [After reading several letter demanding that he end his speech] Well, it looks like this is a lost cause, doesn't it? But then, a man once told me that the only causes worth fighting for are the lost causes. [To Senator Paine] A man we both knew.

Senator Joseph Paine

  • [After Jefferson Smith collapses during his filibuster] I'm not fit to be a Senator. I'm not fit to live. Expel me! Expel me! Not him. Every word that boy said is the truth! Every word about Taylor and me and graft and the rotten political corruption of our state. Every word of it is true. I'm not fit for office! I'm not fit for any place of honor or trust. Expel me!

Jim Taylor

  • Our steam-roller methods are getting too hard for your sensitive soul. Is that it? The Silver Knight is getting too big for us. My methods have been all right for the past twenty years, Joe. Since I picked you out of a fly-specked hole in the wall and blew you up to look like a Senator. And now you can't stand it.

Others

  • H.V. Kaltenborn: [Announcing on the radio] Half of official Washington is here to see democracy's finest show, the filibuster, the right to talk your head off, the American privilege of free speech in its most dramatic form. The least man in that chamber, once he gets and holds that floor by the rules, can hold it and talk as long as he can stand on his feet providing always, first, that he does not sit down, second, that he does not leave the chamber or stop talking. The galleries are packed. In the diplomatic gallery are the envoys of two dictator powers. They have come here to see what they can't see at home. DEMOCRACY IN ACTION.

Dialogue

Jefferson Smith: Did you ever have so much to say about something, you just couldn't say it?
Clarissa Saunders: Try sitting down.
Jefferson Smith: I did - I got right back up again.
Clarissa Saunders: Now look. Let's get down to particulars. How big is this thing? Where's it gonna be? How many boys will it accommodate? You've got to have all of that in it, you know.
Jefferson Smith: Yeah, yeah, and something else, Miss Saunders. The uh, the spirit of it. The idea - the - '[[He snaps his fingers] How do ya say it? [He walks to the window in which the lighted Capitol Dome is seen. He points out at the Dome] That's what's got to be in it!
Clarissa Saunders: What?
Jefferson Smith: The Capitol Dome.
Clarissa Saunders: On paper? [She lifts her eyebrows a little]
Jefferson Smith: I want to make that come to life for every boy in this land. Yes, and all lighted up like that too! You see, you see, boys forget what their country means by just reading 'the land of the free' in history books. And they get to be men - they forget even more. Liberty's too precious a thing to be buried in books, Miss Saunders. Men should hold it up in front of them every single day of their lives and say: 'I'm free to think and to speak. My ancestors couldn't. I can. And my children will.' Boys want to grow up remembering that.

Clarissa Saunders: I see. When you get home, what are you gonna tell those kids?
Jefferson Smith: I'll tell 'em the truth. Might as well find it out now as later.
Clarissa Saunders: I don't think they'll believe you, Jeff. You know, they're liable to look up at you with hurt faces and say, 'Jeff, what did you do? Quit? Didn't you do something about it?'
Jefferson Smith: Well, what do you expect me to do? An honorary stooge like me against the Taylors and Paines and machines and lies...
Clarissa Saunders: Your friend Mr. Lincoln had his Taylors and Paines. So did every other man whoever tried to lift his thought up off the ground. Odds against 'em didn't stop those men. They were fools that way. All the good that ever came into this world came from fools with faith like that. You know that Jeff. You can't quit now. Not you! They aren't all Taylors and Paines in Washington. Their kind just throw big shadows, that's all. You didn't just have faith in Paine or any other living man. You had faith in something bigger than that. You had plain, decent, every day, common rightness. And this country could use some of that. Yeah - so could the whole cock-eyed world. A lot of it. Remember the first day you got here? Remember what you said about Mr. Lincoln? You said he was sitting up there waiting for someone to come along. You were right! He was waiting for a man who could see his job and sail into it. That's what he was waiting for. A man who could tear into the Taylors and root 'em out into the open. I think he was waiting for you Jeff. He knows you can do it. So do I.
Jefferson Smith: What? Do what, Saunders?
Clarissa Saunders: You just make up your mind you're not gonna quit and I'll tell you what. I've been thinkin' about it all the way back here. It's a forty foot dive into a tub of water, but I think you can do it.
Jefferson Smith: Clarissa, where can we get a drink?
Clarissa Saunders: [slapping his knee] Now you're talkin'!

Senator Joseph Paine: I wish to ask my distinguished colleague, has he one scrap of evidence to add now to the defense he did not give and could not give at that same hearing?
Jefferson Smith: I have no defense against forged papers!
Senator Joseph Paine: The Committee ruled otherwise! The gentleman stands guilty, as charged. And I believe I speak for every member when I say that no one cares to hear what a man of his condemned character has to say about any section of any legislation before this House.
President of Senate: Order, order, gentlemen.
Jefferson Smith: Mr. President, I stand guilty as FRAMED! Because section 40 is graft! And I was ready to say so, I was ready to tell you that a certain man in my state, a Mr. James Taylor, wanted to put through this dam for his own profit. A man who controls a political machine! And controls everything else worth controlling in my state. Yes, and a man even powerful enough to control Congressmen - and I saw three of them in his room the day I went up to see him!
Senator Joseph Paine: Will the Senator yield?
Jefferson Smith: No, sir, I will not yield! And this same man, Mr. James Taylor, came down here and offered me a seat in this Senate for the next 20 years if I voted for a dam that he knew, and I knew, was a fraud. But if I dared to open my mouth against that dam, he promised to break me in two.

Diz Moore: [dictating into phone] In protest, the whole Senate body rose and walked out.
Clarissa Saunders: No! No, not that straight stuff. Now listen, kick it up, get on his side, fight for him! Understand?
Diz Moore: You love this monkey - don't you?
Clarissa Saunders: What do you think? Now listen, go to work. Do as I tell you.
Diz Moore: [into phone] Throw out that last, take this. This is the most titanic battle of modern times. A David without even a slingshot rises to do battle against the mighty Goliath, the Taylor machine, allegedly crooked inside and out. Yeah, and for my money, you can cut out the "allegedly."

Taglines

  • Capra at his greatest!
  • Stirring - In the seeing! Precious - In the remembering!
  • Capra's Greatest Hit --- The Screen At Its Most Inspired!
  • Entertainment As Powerful As the Strength of the People! As Great As the Genius of Capra!
  • Romance, drama, laughter and heartbreak ... created out of the very heart and soil of America ... by a great director and cast!

Cast

External links

Wikipedia

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