Reviews

As proof that no-budget films can still lure large audiences, "The Blair Witch Project" is an inspirational story. Fueled by a shrewd marketing campaign, the aura surrounding this indi has sent scores of film patrons, including myself, to the back of long lines. After two misfires with sold out shows, I finally landed a ticket and settled into my seat almost intimidated with wonder over what I was about to see. Eighty-two minutes later, I was bursting with more questions than ever. Questions such as, `Am I the only one, or is this movie a major let down?' `Was I the only one not to be the slightest bit scared?' `What movie did I just see, because I've already forgotten about it?'

But don't get me wrong, `Blair Witch' did have a number of strong points. For one, it offers an original and clever ghost story, with the filmmakers capturing among the most genuine emotions I've ever seen in characters. Elements such as fear, confusion, hunger and frustration were portrayed with unrivaled authenticity. However, while the trio on screen might have been scared, never at one point of the movie was I even the slightest bit frightened. Not the slightest bit. I kept waiting to be terrified and it never happened. I guess I don't have issues with the filmmakers as much as the hype and reviews surrounding the movie. I cannot recall how many reviews I've read featuring bold statements such as "one of the scariest movies ever made." I mean come on, the trailer for "Baby Geniuses" was scarier than Blair Witch. While I recommend it for hardcore indi fans with an interest in unconventional filmmaking, as a heavyweight horror film belonging in the same league as `The Exorcist,' `Halloween,' and `Night of the Living Dead,' do not believe the hype.

"Thirty years ago, I was you," says Senator Paine to the young, idealistic Jefferson Smith, "but I learned to compromise."

The film is Mr. Smith Goes to Washington, the story of a man who takes on the political system, refuses to compromise, and still wins. Unrealistic? Perhaps, but director Frank Capra takes an Oscar winning story by Lewis Foster, combines it with James Stewart's virtuous portrayal of innocent every man Jefferson Smith, and makes audiences once again believe that "lost causes" really are "the causes worth fighting for."

Yet in the cloakrooms of Washington this positive message was not embraced. The controversy surfaced in the October 5, 1939 edition of Variety featuring the front-page headline, "Capra's 'Mr. Smith' Goes to Washington and Solons, Seemingly, Can't Take It."

"Infamous," "treasonable," "disgusting," and "outrageous," were only a few of the sizzling adjectives used by lawmakers to describe the film.

The uproar, according to Variety, stemmed from the "too close to the average lawmaker" depiction of 'Senator Paine,' a character who mentors freshman Senator Jefferson Smith only to turn on him. It was also reported that the film's virtue-will-triumph approach had no impact on irate congressmen who insisted that the picture reflected poorly on the dignity and integrity of the Senate.

Incidentally, this added publicity, along with the film's strong reviews and word of mouth, resulted in bullish box office. Opening at Radio City Music Hall, Mr. Smith quickly became the biggest hit in town, earning $110,000 its first week. This was followed by big openings in Buffalo ($15,000 its first week), Cincinnati ($16,500), Detroit ($17,000) and Philadelphia ($22,000). It even pulled $15,000 in Cleveland the same weekend as a traffic- stopping Notre Dame-Navy football game attended by over 80,000 people.

Today, as we near the 60-year anniversary of the film's release, it stands as an unlikely early target of vicious attacks by lawmakers who feared its impact on the minds of film patrons.

`Is there any difference between Democrats and Republicans?' `The difference is that they're in and we're out.' -- A line from State of the Union, one of only a handful of political films to use direct partisan language.

Based on a 1945 play by Howard Lindsay and Russell Crouse, State of the Union marked Frank Capra's return to the political genera. This film is also the third of nine pictures featuring Spencer Tracey and Katharine Hepburn. In this outing, Tracey plays Grant Matthews, a famous aircraft tycoon courted by the Republican Party to become their candidate for President of the United States. The film's title, in addition to referring to the country, is also a metaphor for Matthews' relationship with his wife, Mary (Hepburn). The two are having marital problems sparked by Matthews' affair with a newspaper heir Kay Thorndyke (played by a 22-year-old Angela Lansbury convincingly portraying a woman in her forties).

Once the campaign is underway, the classic theme of a good man sacrificing his ideals in order to win begins to surface. Matthews' speeches are reworked as to not offend any big political establishments (e.g. big business, labor, agriculture, etc.), and soon he begins to loose his own voice along with his identity. Finally, in the film's climax, Matthews is forced to choose between a certain nomination for the presidency or a wife who represents his true character.

Incidentally, for a movie centered on a republican character, State of the Union does not focus on a conventional conservative theme, nor does it only target liberals. The film ribs big business, `the American Dream is not about making money,' in addition to labor. And even though Harry S Truman is the subject of several quips, he was said to have really enjoyed the film, often playing it on his presidential yacht.

At the box office, State of the Union performed better in smaller outlets than large markets. It premiered at New York's Radio City Music Hall to a opening week of $137,000, `this is a bit under hopes, especially in view of intensive advance campaign and strong reviews,' reported Varitey. In Los Angeles, the film opened at No. 1 with $52,000 but `not a smash.' Though in markets such as Minneapolis, Kansas City and Seattle, the film pulled big numbers. Overall the film was a success, but it did not match the box office bounty of Capra's earlier films including Mr. Smith Goes to Washington or the other Tracey/Hepburn parings for that matter (e.g. Adam's Rib, Pat & Mike, Guess Who's Coming to Dinner).