Journalist Ann Mitchell (Barbara Stanwyck) concocts a story about 'John Doe', a down-and out 'regular guy' who plans on jumping off the roof of city hall on Christmas Eve to protest social inequality. The story strikes a nerve in readers and soon the paper has to produce John Doe, who promptly becomes a symbol to 'average Americans'. Friction between the 'have' vs 'have nots' ('powerful' vs. 'the hoi polloi', 'elites' vs. 'deplorables', etc.) is no less relevant now than in 1941, so despite the dated look, complete lack of irony and somewhat simplistic world-view, the film will likely still resonate with modern viewers. Stanwyck is fine as the reporter who unexpectedly triggers a populist landslide but her sudden epiphany at the story's end is a bit strained (and wholly predictable) and Gary Cooper is great as "Long John Willoughby", the former ball-player who ends up as a proxy for every 'regular American' who just wants their fair share of the dream. The best character is John's loyal hobo-pal 'The Colonel' (Walter Brennen). Always in the background, he's a one man 'Greek chorus', constantly warning John against the seduction of money and railing against the 'heelots' - a neologism that seems to include most fiscally-successful people (whether you see the Colonel as a 'free man' or a 'freeloader' likely depends on where you lie on the political spectrum). Production values and cinematography are impression, especially the massive 'John Doe' rally scene. Typical of director Capra, the film wears its heart on its sleeve and the message is not subtle: the 1%ers are either self-serving villains (as represented by industrialist and presidential hopeful D.B. Norton (Edward Arnold)) or corrupt and inept such as Mayor Lovett (Gene Lockhart). Despite the entire story starting with a deliberately manipulative lie by a reporter ('fake news' in today's parlance), 'the media' comes out looking sympathetic and on the side of the people. While the whole film soft-pedals a saccharin social revolution, the ending is especially schmaltzy (and improbable). Entertaining albeit somewhat simplistic, socially-conscious sugar-pill.
Review of Meet John Doe
