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The first of director Frank Capra's independent productions (in partnership with Robert Riskin), Meet John Doe begins with the end of reporter Ann Mitchell's (Barbara Stanwyck) job. Fired as part of a downsizing move, she ends her last column with an imaginary letter written by "John Doe." Angered at the ill treatment of America's little people, the fabricated Doe announces that he's going to jump off City Hall on Christmas Eve. When the phony letter goes to press, it causes a public sensation. Seeking to secure her job, Mitchell talks her managing editor (James Gleason) into playing up the John Doe letter for all it's worth; but to ward off accusations from rival papers that the letter was bogus, they decide to hire someone to pose as John Doe: a ballplayer-turned-hobo (Gary Cooper), who'll do anything for three squares and a place to sleep. "John Doe" and his traveling companion The Colonel (Walter Brennan) are ensconced in a luxury hotel while Mitchell continues churning out chunks of John Doe philosophy. When newspaper publisher D.B. Norton (Edward Arnold), a fascistic type with presidential aspirations, decides to use Doe as his ticket to the White House, he puts Doe on the radio to deliver inspirational speeches to the masses -- ghost-written by Mitchell, who, it is implied, has become the publisher's mistress. The central message of the Doe speeches is "Love Thy Neighbor," though, conceived in cynicism, the speeches strike so responsive a chord with the public that John Doe clubs pop up all over the country. Believing he is working for the good of America, Cooper agrees to front the National John Doe Movement -- until he discovers that Norton plans to exploit Doe in order to create a third political party and impose a virtual dictatorship on the country. The last of Capra's "social statement" films, Meet John Doe posted a profit, although Capra and Riskin were forced to dissolve their corporation due to excessive taxes. ~ Hal Erickson, All Movie Guide --New York Times
Best Original Story --1941 Academy of Motion Picture Arts and Science
Best Original Story --1941 Academy of Motion Picture Arts and Science
Product Description
Gary Cooper, Barbara Stanwyck. Frank Capra classic about an unemployed outcast chosen by a woman reporter to be the spokesman for a goodwill campaign. 1941/b&w/123 min/NR/fullscreen.
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45 of 45 people found the following review helpful
By Jon Oye
Format:DVD|Amazon Verified Purchase
That's right, Capra's masterpiece. More on that later.
Regarding the print, it isn't perfect in this 2010 VCI edition, but it's better than any previously released on DVD. There are still some skips, some lost frames and a few abrupt transitions, but the sound, as well as the darks, lights and mid tones, are more than acceptable--which is saying a lot, considering most public domain prints that have been paraded across the marketplace throughout the years have been decidedly UNacceptable.
1941 was a watershed year in American cinema. It was the year of the bold and groundbreaking "Citizen Kane," the breathtaking and heart wrenching "How Green Was My Valley," the grippingly patriotic "Sergeant York," the sobering, frightening fable, "The Devil and Daniel Webster," the pioneering noir classic by which all others are measured, "The Maltese Falcon," the brilliant and hilarious send-up of gangster films, "Ball of Fire," and the ultimate thinking man's comedy, "Sullivan's Travels." All are landmarks in the cinematic landscape, which hold up amazingly well today. But Frank Capra's fanfare for the common man, "Meet John Doe," also released that year, was arguably the greatest achievement in the careers of Gary Cooper, Barbara Stanwyck, character actor James Gleason, and Capra himself.
Gary Cooper was in three of the classics mentioned above, and few actors have ever had a better showing in any twelve-month stretch. Coop availed himself admirably enough as a real life hero forced to make a life changing decision in the Howard Hawks-directed "Sergeant York" to take home 1941's Academy Award for Best Actor. He displayed impressive comedic chops as a vulnerable and awkward academic with integrity in Hawks' "Ball of Fire" (which also co-starred Stanwyck). Either of these performances, let alone both, would be enough to elevate any actor to legendary status. Yet in "Doe" Cooper managed to transcend even himself in an acting tour de force that elicits laughter, tears, and the gamut of emotions in between.
One could use any number of scenes as examples, but a standout moment for me is when the people of a small town come forward to tell Doe what the burgeoning John Doe movement means to them and how it has changed their lives. Cooper displays, in his face, wordlessly, an eloquent range of nakedly moving emotions as he listens, at first reluctantly, to their stories--culminating in an utterly indescribable look of shame, modesty, guilt and love as an elderly woman kisses his hand.
Stanwyck is at her most effervescent as the street savvy but idealistic columnist Ann Mitchell, who creates, then falls hard for, Cooper's Doe. She's in there fighting not only for her man, but also for the ideals her late father taught her, which she infuses into the stirring, heartfelt speeches she writes for John. And we pull for her as she overcomes manipulation and machination by repugnant powers-that-be while fighting for what is right.
This is undoubtedly James Gleason's finest hour, as Stanwyck's boss, the seen-it-all, hard-bitten newspaper editor Henry Connell. His drunk scene in a diner with Cooper, in which he eloquently sums up the value of freedom and why it's worth defending, to the death if necessary, is enough to stir men's souls--which of course was the intention. He's speaking from a late 1940 perspective--with war raging in Europe and Asia and an unemployment rate of 14.5% at home, the twin threats of fascism and communism are very real--hearkening back to "lighthouses in a foggy world": Washington, Jefferson and Lincoln. But looking back today through the spectrum of what has transpired in the seventy years since then, it's difficult not to get a little choked up by screenwriter Robert Riskin's stirring lines, and Gleason's masterful, off-the-cuff delivery of them.
More than a passing nod is due Edward Arnold, as the personification of opportunistic corporate-political evil, D. B. Norton, and to the incredibly versatile Walter Brennan (who also supported Cooper in "Sergeant York") as Doe's Jiminy Cricket-like conscience and sidekick, who is referred to only as "the Colonel."
The main character's correlation to Christ is undeniable, and Connell even makes a reference to Pontius Pilate following what can only be described as a crucifixion scene. Capra, who was Roman Catholic, imbues his hero with the Christ-like characteristics of a sacrificial lamb, offering him up for the greater good of Mankind. Ultimately, though, Doe's motives aren't quite on the level of "Greater love has no man than this, that he lay down his life for his friends," as his intentions are somewhat vindictively (though perhaps justifiably) geared toward sticking it to the D. B. Nortons of the world. Ultimately, Ann convinces him that his sacrifice is unnecessary, that "the first John Doe" took care of it nearly 2,000 years ago, again drawing a Christ comparison, and on Christmas Eve no less.
Though most would choose "It's a Wonderful Life" as director Frank Capra's crowning work in a heartbeat, I can't help but lean toward the somewhat forgotten "John Doe." Capra was at the top of both his game and the movie world when he began shooting "Doe" in the summer of 1940, teamed with his best screenwriter, Robert Riskin. Though his achievements would eventually be eclipsed by those of the great John Ford, he was at the time the most decorated director in Hollywood, having won three Oscars in the previous five years. His hallmark optimism and populism is palpable in nearly every frame of "Doe," and while this film and "Wonderful Life" both celebrate the exceptional everyman, "Doe" resonates as a more personal work.
With rampant unemployment serving as the impetus for nearly everything that transpires in the film and a nationwide grassroots movement of the people as its centerpiece, plus ominous allusions to a new world order, "Meet John Doe" is open to a variety of sociopolitical interpretations from a 21st century perspective, which I'll leave to you. But more than a few of the warnings and lessons therein are certainly pertinent today. What we are left with in the final analysis is a wonderful, thought provoking, inspirational film, with all the best of what the Hollywood studio system had to offer at its peak, by one of its finest directors.
Ken Barnes, who has worn many hats in his long career, including producer-director, record producer and film historian, provides a knowledgeable running commentary, which is augmented with snippets of interview with Frank Capra himself.
Regarding the print, it isn't perfect in this 2010 VCI edition, but it's better than any previously released on DVD. There are still some skips, some lost frames and a few abrupt transitions, but the sound, as well as the darks, lights and mid tones, are more than acceptable--which is saying a lot, considering most public domain prints that have been paraded across the marketplace throughout the years have been decidedly UNacceptable.
1941 was a watershed year in American cinema. It was the year of the bold and groundbreaking "Citizen Kane," the breathtaking and heart wrenching "How Green Was My Valley," the grippingly patriotic "Sergeant York," the sobering, frightening fable, "The Devil and Daniel Webster," the pioneering noir classic by which all others are measured, "The Maltese Falcon," the brilliant and hilarious send-up of gangster films, "Ball of Fire," and the ultimate thinking man's comedy, "Sullivan's Travels." All are landmarks in the cinematic landscape, which hold up amazingly well today. But Frank Capra's fanfare for the common man, "Meet John Doe," also released that year, was arguably the greatest achievement in the careers of Gary Cooper, Barbara Stanwyck, character actor James Gleason, and Capra himself.
Gary Cooper was in three of the classics mentioned above, and few actors have ever had a better showing in any twelve-month stretch. Coop availed himself admirably enough as a real life hero forced to make a life changing decision in the Howard Hawks-directed "Sergeant York" to take home 1941's Academy Award for Best Actor. He displayed impressive comedic chops as a vulnerable and awkward academic with integrity in Hawks' "Ball of Fire" (which also co-starred Stanwyck). Either of these performances, let alone both, would be enough to elevate any actor to legendary status. Yet in "Doe" Cooper managed to transcend even himself in an acting tour de force that elicits laughter, tears, and the gamut of emotions in between.
One could use any number of scenes as examples, but a standout moment for me is when the people of a small town come forward to tell Doe what the burgeoning John Doe movement means to them and how it has changed their lives. Cooper displays, in his face, wordlessly, an eloquent range of nakedly moving emotions as he listens, at first reluctantly, to their stories--culminating in an utterly indescribable look of shame, modesty, guilt and love as an elderly woman kisses his hand.
Stanwyck is at her most effervescent as the street savvy but idealistic columnist Ann Mitchell, who creates, then falls hard for, Cooper's Doe. She's in there fighting not only for her man, but also for the ideals her late father taught her, which she infuses into the stirring, heartfelt speeches she writes for John. And we pull for her as she overcomes manipulation and machination by repugnant powers-that-be while fighting for what is right.
This is undoubtedly James Gleason's finest hour, as Stanwyck's boss, the seen-it-all, hard-bitten newspaper editor Henry Connell. His drunk scene in a diner with Cooper, in which he eloquently sums up the value of freedom and why it's worth defending, to the death if necessary, is enough to stir men's souls--which of course was the intention. He's speaking from a late 1940 perspective--with war raging in Europe and Asia and an unemployment rate of 14.5% at home, the twin threats of fascism and communism are very real--hearkening back to "lighthouses in a foggy world": Washington, Jefferson and Lincoln. But looking back today through the spectrum of what has transpired in the seventy years since then, it's difficult not to get a little choked up by screenwriter Robert Riskin's stirring lines, and Gleason's masterful, off-the-cuff delivery of them.
More than a passing nod is due Edward Arnold, as the personification of opportunistic corporate-political evil, D. B. Norton, and to the incredibly versatile Walter Brennan (who also supported Cooper in "Sergeant York") as Doe's Jiminy Cricket-like conscience and sidekick, who is referred to only as "the Colonel."
The main character's correlation to Christ is undeniable, and Connell even makes a reference to Pontius Pilate following what can only be described as a crucifixion scene. Capra, who was Roman Catholic, imbues his hero with the Christ-like characteristics of a sacrificial lamb, offering him up for the greater good of Mankind. Ultimately, though, Doe's motives aren't quite on the level of "Greater love has no man than this, that he lay down his life for his friends," as his intentions are somewhat vindictively (though perhaps justifiably) geared toward sticking it to the D. B. Nortons of the world. Ultimately, Ann convinces him that his sacrifice is unnecessary, that "the first John Doe" took care of it nearly 2,000 years ago, again drawing a Christ comparison, and on Christmas Eve no less.
Though most would choose "It's a Wonderful Life" as director Frank Capra's crowning work in a heartbeat, I can't help but lean toward the somewhat forgotten "John Doe." Capra was at the top of both his game and the movie world when he began shooting "Doe" in the summer of 1940, teamed with his best screenwriter, Robert Riskin. Though his achievements would eventually be eclipsed by those of the great John Ford, he was at the time the most decorated director in Hollywood, having won three Oscars in the previous five years. His hallmark optimism and populism is palpable in nearly every frame of "Doe," and while this film and "Wonderful Life" both celebrate the exceptional everyman, "Doe" resonates as a more personal work.
With rampant unemployment serving as the impetus for nearly everything that transpires in the film and a nationwide grassroots movement of the people as its centerpiece, plus ominous allusions to a new world order, "Meet John Doe" is open to a variety of sociopolitical interpretations from a 21st century perspective, which I'll leave to you. But more than a few of the warnings and lessons therein are certainly pertinent today. What we are left with in the final analysis is a wonderful, thought provoking, inspirational film, with all the best of what the Hollywood studio system had to offer at its peak, by one of its finest directors.
Ken Barnes, who has worn many hats in his long career, including producer-director, record producer and film historian, provides a knowledgeable running commentary, which is augmented with snippets of interview with Frank Capra himself.
32 of 34 people found the following review helpful
5.0 out of 5 stars
finally a transfer with some effort put into it and bonus features!
December 4, 2010
Format:DVD|Amazon Verified Purchase
This is a very "important" movie a very very good movie and a vital part of the careers of the great Gary Cooper and Frank Capra ...and up till now its only been available in horrible public domain versions that were washed out and just plain awful looking.
VCI has done a respectable job presenting this classic film in a two disc offering...the first disc holds the movie and it looks so much better than previous editions I'm not going to moan about it not being perfect. I have listened to part of the commentary and found it interesting to a point and the Frank Capra inserts very nice. The second disc contains "extras" that are second rate compared to major studio releases but are still enlightening and heck...the whole thing is so bloody affordable!
If you've been burned by bad versions in the past...I doubt its going to be released any better than this...and this is pretty good!
Just to be sure I'm reviewing the 2 DVD VCI set of Meet John Doe which was released Nov 30th 2010.
VCI has done a respectable job presenting this classic film in a two disc offering...the first disc holds the movie and it looks so much better than previous editions I'm not going to moan about it not being perfect. I have listened to part of the commentary and found it interesting to a point and the Frank Capra inserts very nice. The second disc contains "extras" that are second rate compared to major studio releases but are still enlightening and heck...the whole thing is so bloody affordable!
If you've been burned by bad versions in the past...I doubt its going to be released any better than this...and this is pretty good!
Just to be sure I'm reviewing the 2 DVD VCI set of Meet John Doe which was released Nov 30th 2010.
41 of 46 people found the following review helpful
Format:DVD
In itself "Meet John Doe" Is a warm, witty, and heartwarming story of two people who find paths cross because of a ruthless politician. This particular format from "Alpha Video Distributors" is the worst ever!! The picture looks as if if was transferred from a very bad copy of a copy of a copy of a video, with all the bad, scratches, no sharpness, washed out picture & jittery sound. I guess you get what you pay for! It's enough to make me not want to watch this dvd as it hurts my eyes and ears.
Most Recent Customer Reviews
5.0 out of 5 stars
Loved it!
I love the old movies and this is one of the best. Gary Cooper is an all time favorite and Barbara Stanwyck is great in this movie also..
Published 2 months ago by IfollowChrist
5.0 out of 5 stars
It is a move for our time
They should play this in social studies class..in all schools.
It is a time I am afraid where we are headed under this administration, it is a lesson to be learned for the... Read more
It is a time I am afraid where we are headed under this administration, it is a lesson to be learned for the... Read more
Published 2 months ago by Donald D. Giesler
5.0 out of 5 stars
Classic Movie
A classic movie; a young Barb S, excellent Cooper. A great popcorn muncher of a show where you know the good guy wins in the end.
Published 3 months ago by R. Lobo
5.0 out of 5 stars
Great story for all times
I got this at Christmas time brt it's actually a good one to watch at anytime. Great acting, actors and a good one for the whole family to enjoy. Would highly recommend.
Published 3 months ago by Carol D. Pippin
5.0 out of 5 stars
It still speaks volumes.
I have seen this movie many times and like most classic movies, I never tire of it. It still speaks volumes of the state of society in those days and now. Read more
Published 3 months ago by "rosieluthien"
5.0 out of 5 stars
A Capra gem
Love anything Stanwyck is in. She had to be the most versatile actress on screen. Capra,what a great director. This movie is a must see!
Published 3 months ago by Patricia Kingery
5.0 out of 5 stars
Fabulous Movie
The acting was fantastic!! The directorship, the cultural time element, and the music, and the quality of the filmmaking was extraordinary. A true classic.
Published 3 months ago by K. Bauder
5.0 out of 5 stars
This is a Great Movie
This has been a favorite since I watched it the first time long ago. I was glad to find it at such a wonderful price also.
Published 3 months ago by Arlene Haner
5.0 out of 5 stars
Meet Frank Capra
I simply adore this movie about hard working people striving to do the right thing.
Don't freak out but there is no cussing, and God is even subtly mentioned. Read more
Don't freak out but there is no cussing, and God is even subtly mentioned. Read more
Published 3 months ago by Nancy G
5.0 out of 5 stars
ok
Love these old movies.. It is well worth the money and came as etold and since I have seen it on TV several times it was just as described.
Published 3 months ago by bo
