Mr. Smith Goes to Washington is the endearing story of a young man who steps up to the task of representing his state in Washington D.C., only to have his patriotic beliefs in home and country shattered by the very man he idolizes. Inspired by the woman who loves him, he renews his commitment to the teachings of his upbringing, unwilling to let the petty dealings of powerful men destroy the idealized America in which he so fervently believes. Undoubtedly, Mr. Smith is a very patriotic film full of grand ideas exulting American virtues presented in none too subtle ways. What saves the film from sliding into a dearth of sentimental squalor lies in the talents of two remarkably talented men: actor James Stewart and director Frank Capra, a Hollywood combination that resulted in one of the most memorable, heart warming, and inspiring films of all time.

By 1939, Capra was already known as a golden boy, having directed It Happened One Night in 1934 (the first film to win the top 5 competitive Oscars), Mr. Deeds Goes to Town in ‘36 (another Best Director Oscar), and You Can’t Take It With You in ‘38 (which garnered Capra’s third Best Director Oscar and another Best Picture Oscar). Although the critics dubbed his storylines as simple and sappy, it was obvious that Capra had an undeniable connection to the public who couldn’t get enough of his “Capra-corn”. However, with just a few definable successes to his credit as the love interest to better-known female stars (Vivacious Lady with Ginger Rogers and The Shopworn Angel with Margaret Sullavan), Stewart was still a relative newcomer. It was Mr. Smith that would bring the eventual icon true notoriety, sealing his own personae as the “unusually usual” man who personified the traits of the American male.

With Capra’s unique touch and Stewart’s wholesome appeal it’s no wonder Mr. Smith was destined to strike a cord with audiences still reeling from the depression. Americans were in need of inspiration and even direction in the insecure years leading up to WWII, and had it not been for Stewart’s enlistment and Capra’s own commitment to the war effort through the production of the Why We Fight short film series, there might have been a host of memorable films from the winning combination. In fact, the first post-war film for both men was It’s a Wonderful Life in 1946, an obvious sign that the two men were one of the greatest collaborators the silver screen has ever known.         

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