[9]
Jimmy Stewart stars as George Bailey, a good-hearted, small town American who runs a building and loan company that helps many of his neighbors obtain affordable housing. But when his uncle (Thomas Mitchell) loses a deposit and an auditor arrives to evaluate the company, George is threatened with jail time and the company stands on the verge of collapse — vulnerable to a corporate takeover from a ruthless rival named Henry Potter (Lionel Barrymore). Despondent, George begins to think the town, his wife (Donna Reed), and their four children will be better off without him. On Christmas Eve, he prepares to jump from a bridge into icy cold waters. He’s stopped by Clarence (Henry Travers), a guardian angel who shows him what his town and loved ones would be like if he had never existed — that he has truly made a tremendous impact and that his life has considerable value.
It’s a Wonderful Life is widely considered the crowning achievement in director Frank Capra‘s career. It’s quintessential Capra, underscoring the importance of community and the values of moral living, particularly in the face of big business and big government. The first 30 minutes are especially strong — a compelling portrait of how caring and united an American town can be. It had me grinning ear to ear with its immense charm. Plot contrivances bugged me a bit. But that’s part of Capra’s schtick. He’s famous for creating “good will fantasies” that celebrate all the aspirational qualities of humanity and citizenship. His films don’t reflect America so much as they encourage it to heed its better angels. Capra conjures genuine tears doing this. We’d all like to think a guardian angel might come to us in our darkest hour to help us see the world — and ourselves — with clearer eyes. It’s the reason this film has been a Christmastime classic for 75 years.
With Beulah Bondi, Gloria Grahame, and H.B. Warner.
Oscar Nominations: Best Picture, Best Director (Frank Capra), Best Actor (James Stewart), Best Film Editing (William Hornbeck), Best Sound Recording (John Aalberg)