Capra, Stewart, and a Christmas classic

No, this is not a blog about “Die Hard.”

Certainly “It’s a Wonderful Life,” which NBC stations will carry Sunday at 7 p.m. Central time, is a Christmas movie. What’s somewhat unexpected about it is that it was considered a box office failure when it first came out, as in making approximately half its production costs at the box office. (Some of that was due to stiff competition around Christmas 1946.)

What’s more interesting is the story behind the movie, particularly its star, James Stewart, as reported by the London Daily Mail:

Jimmy Stewart suffered such extreme PTSD after being a [bomber] pilot in World War II that he acted out his mental distress during ‘It’s a Wonderful Life’.

Stewart played George Bailey in the classic movie and channeled his anger and guilt into the scenes where he rages at his family.

Stewart was haunted by ‘a thousand black memories’ from his time as an Air Force commanding officer that he took with him back to Hollywood after the war.

Pilots who flew with him said that became ‘Flak Happy’ during World War II, a term to describe what is now known as Post Traumatic Stress Disorder, or PTSD.

Stewart wrestled with the guilt of killing civilians in bomb raids over France and Germany including one instance where they destroyed the wrong city by mistake.

Stewart felt responsible for the death of his men and especially one bloodbath where he lost 13 planes containing 130 men who he knew well.

Stewart’s anguish is laid bare for the first time in author Robert Matzen’s Mission: Jimmy Stewart and the fight for Europe, published by Paladin Communications.

Stewart never spoke  about it, even to other veterans, and bottled up his emotions that came out in the acting parts he chose when he returned to Hollywood.

He acted it out during It’s a Wonderful Life, where character George Bailey unravels in front of his family – the emotional core of the film after a lifetime of setbacks, including being unable to go to war while his brother becomes a decorated hero.

Films like Shenandoah and Winchester 73 allowed Stewart to explore his dark side which was never there before he went to war.

Matzen writes that Stewart’s decision to join the military was less surprising than his decision to become an actor; his grandfather fought in the Civil War and more distant relatives fought in the Revolutionary War

Stewart was finally called up shortly before the assault on Pearl Harbor in 1941 which forced America into the World War II.

Asked by a studio boss why he wanted to give up his life in Hollywood, Stewart said: ‘This country’s conscience is bigger than all the studios in Hollywood put together, and the time will come when we’ll have to fight’.

Stewart was initially put in the Air Force Motion Picture Division because commanders wanted to use him to make films to convince more airmen to sign up.

He was also used for PR stunts until he demanded that he see combat like other airmen.

Stewart’s chance came with the creation of a B-24 bomber group, the 445th, and he was appointed commander of the 703rd squadron.

Matzen writes that the ‘key moment in Jim’s life had arrived. There would never be another like this, not before, not after’.

Speaking to DailyMail.com, Matzen said that Stewart signed up because he ‘felt he had to prove himself, especially with women, to prove he was attractive enough, charming enough’.

He said: ‘He wanted to prove he was responsible enough, that’s the key with him. He wanted to prove he was responsible enough to be an officer, that he could handle this, he could make his dad proud of him’.

According to ‘Mission’, Stewart and the 445th were deployed to Tibenham in East Anglia in England where they would carry out bombing raids on German targets.

Stewart did not stay on the ground and flew with his men.

Unlike other commanding officers Stewart, who was a Captain, took time to get to know his men as he wanted a team atmosphere.

The tactic worked but at a huge personal cost – when they started to be killed off it hit him harder.

Their first mission was to bomb a Nazi submarine facility in the city of Kiel and went off better than Stewart had expected.

As the flight got underway Stewart’s dream was finally realized – he was in combat. 

Matzen writes that he ‘became part of something vital, something like the phalanx of the Roman legions’.

The biggest shock was the flak from anti-aircraft guns.

Matzen writes that the training about it ‘bore no resemblance to the experience’ and their bombers yawed left and right and pitched up and down as explosions went off all around them in the sky.

None of Stewart’s planes were shot down during the raid – but soon the bodies began fall.

During a raid on Bremen, the second largest port in Germany, enemy fighters took down a bomber called ‘Good Nuff’. Of the crew of ten, just three parachuted out.

Not for the first time, Stewart had to write a letter to the parents of the dead airmen saying they were missing and presumed dead.

A mission over Mannheim ended in catastrophe when they lost two planes with 20 men inside.

And as the weeks went on, this all began to weigh heavily on Stewart.

Matzen said: ‘He was a perfectionist and he was so hard on himself. It wasn’t just that he had responsibility for his plane, if he was in a group it was 15-20 planes and it was sometimes 75-100 planes.

‘It just got to him and it got to him pretty fast.

‘Every decision he made was going to preserve life or cost lives. He took back to Hollywood all the stress that he had built up.’

In total Stewart flew 20 missions and the stress manifested itself physically and mentally.

Stewart could not keep his food down which became a problem when he was embarking on draining eight or nine hour missions.

Stewart survived the war on peanut butter and ice cream which meant his diet consisted of just protein and sugar.

Unable to sleep, he became more and more wore down by the demanding flights – that became more and more bloody.

The worst was one that Stewart did not actually fly on, but his squadron did.

The raid on the city of Gotha, Germany, led to the loss of 13 planes, or 130 men all in one go.

Those who survived told horrific tales of bodies flying through the air and planes exploding in front of them.

More more than two hours Nazi fighters ‘poured death and destruction’ at Stewart’s men from every direction.

They used cables with bombs attached to them to bring their bombers down, fired rockets ‘like the Fourth of July’ and fired rockets at will.

Nazi pilots followed the planes as they went down to make sure there were no survivors.

Stewart heard all this and knew that the next day he had to lead the next nearly identical mission.

That night he did not sleep – miraculously his flight was nowhere near as bad.

Perhaps the episode which disturbed Stewart the most was a raid which went terribly wrong.

The 453rd were assigned to bomb a V-1 rocket facility in the northern French village of Siracourt.

The instruments in Stewart’s cockpit malfunctioned and 12 bombers deployed their payloads on the city of Tonnerre instead.

At least 30 tons of general purpose bombs rained down causing unknown numbers of civilian casualties.

Stewart’s pilots tried to cover for him but he took the blame himself, something which earned him their ultimate respect.

In all Stewart had served four-and-a-half years during World War II and was awarded the Air Medal with oak leaf clusters, Distinguished Flying Crosses and the Croix de Guerre.

Matzen told DailyMail.com that he interviewed one of the pilots who flew with Stewart who told him that Stewart once said that he had gone ‘flak happy’ and was sent to the ‘flak farm’.

‘Flak happy’ refers to what has now become known as PTSD but was little understood at the time, while the ‘flak farm’ was a treatment center for soldiers.

For Stewart his soul had been ‘ground down to nothing’ and his ‘youth had died’.

When Stewart’s mother Bessie and his father Alex saw him for the first time they were ‘shocked by what they saw – their boy had aged what seemed decades’.

Matzen writes that he was a decorated war hero, was rake thin and had gray hair and a ‘command authority’ that made his father uneasy.

Stewart faced a grim reality: He was 37 but looked 50 and his career as a romantic lead was over. He struggled to find work until director Frank Capra hired him for It’s A Wonderful Life.

Matzen said that it was a lifeline for Stewart and rehabilitated him in the eyes of Hollywood, showing directors that he could still act.

Speaking to DailyMail.com, Matzen said: ‘Jim came back from hell on earth and groped around for a movie to make, and his only offer he had was for what would become the most beloved motion picture in all American culture.

‘In an unlikely life full of unlikely things -this gangly stringbean becoming a movie star and then a war hero -this was the unlikeliest.’

The movie also provided an unlikely outlet for his still raw emotions.

Matzen said: ‘I don’t think he had that kind of capacity before the war. It enabled him to be ferocious and to have that raw emotion.

‘You see it time and time again; I think he would look for scripts where he could demonstrate that rage. I think that was the side of him that in there all the time and that’s how he would let it out.’

Stewart did not leave the military and continued to serve until May 1968 when he retired after 27 years of service during which time he was a bomber pilot during the Vietnam War.

But the memories of World War II never left him and he would see people in the street who reminded him of the airmen who had died under his command.

In ‘Mission’, Matzen writes: ‘Was he still flak happy, on a flak farm? Who could tell what was real after all that had happened over five long years.

‘The nightmares come every night.

‘There was on oxygen at 20,000 feet with 190s zipping past, spraying lead and firing rockets, flak bursting about the cockpit. B-24s hit, burning, spinning out of formation.

‘Bail out! Bail out! Do you see any chutes? How many chutes? Whose ship was it? Oh God, not him?

Not them! Bodies, pieces of bodies smacking off the windshield.

‘And the most frequent dream, an explosion under him and the plane lifted by it and the feeling that this was the end.’

The movie was directed by Frank Capra, of whom University of Nevada Prof. John Marini writes:

Frank Capra was born in Sicily in 1897 and came to America in 1903. Yet by the 1930s, his movies—movies like Mr. Deeds Goes to TownMr. Smith Goes to Washington, and Meet John Doe—were said to embody the best in America. Capra’s films were nominated for 35 Academy Awards and won eight, including two for best picture and three for best director. But Capra’s star faded after the Second World War, and by the end of the revolutionary decade of the 1960s, the actor and director John Cassavettes could say: “Maybe there never was an America in the thirties. Maybe it was all Frank Capra.” By that time, Capra’s films were widely viewed as feel-good fantasies about a country that never was. But is that view correct?

Capra, like Lincoln, believed that our inherited political edifice of liberty and equal rights is a fundamental good. He believed that if our treasure is in the ideas of our fathers, it is the duty of each generation to make those ideas live through the proper kind of education—including through literature and art, including his own art of filmmaking. Accordingly, he believed it is important to celebrate the deeds of those ordinary individuals who continue to exercise the virtues necessary to maintain those ideas.

In celebrating these deeds in his movies, Capra rejected social or economic theories based on progressivism or historicism—theories in which the idea of natural right is replaced with struggles for power based on categories such as race and class. Such theories had taken root not only in Soviet Russia and Nazi Germany, but elsewhere in the West—especially in the universities. …

Capra was often thought to be a populist. But Capra did not assume that a virtuous opinion existed in the people, or that the people simply needed mobilizing. He was aware that the modern public is created by modern mass media whose techniques spawn mass society, posing a danger to individual freedom. Capra wrote that his films “embodied the rebellious cry of the individual against being trampled into an ort by massiveness—mass production, mass thought, mass education, mass politics, mass wealth, mass conformity.” He did not believe in the use of mass power to improve society or to right historical wrongs. Reform, he thought, must take place through moral regeneration—thus through moral education.

Consider Capra’s 1939 film, Mr. Smith Goes to Washington, in which an idealistic man goes to Congress, runs into rampant corruption, becomes despondent, is later inspired at the Lincoln Memorial, decides against hope to stand on principle, and prevails. Capra had doubts about making Mr. Smith. While in Washington preparing for the film, he attended a press conference in which President Roosevelt outlined the great problems facing the nation. Capra wondered whether it was a good time to make a dramatic comedy about Washington politics. In his troubled state he visited the Lincoln Memorial, where he saw a boy reading Lincoln’s words to an elderly man. He decided, he later wrote, that he “must make the film, if only to hear a boy read Lincoln to his grandpa.” He left the Lincoln Memorial that day, he recalled,

with this growing conviction about our film: The more uncertain are the people of the world . . . the more they need a ringing statement of America’s democratic ideals. The soul of our film would be anchored in Lincoln. Our Jefferson Smith [the film’s lead character, played by Jimmy Stewart] would be a young Abe Lincoln, tailored to the rail-splitter’s simplicity, compassion, ideals, humor. . . . It is never untimely to yank the rope of freedom’s bell.

When watching Mr. Smith, it is important to notice where Capra locates the corruption. FDR customarily attacked “economic royalists,” or the private corruption of corporations and monopolies. For FDR, the solution to corruption was to be found through the government and through the unions, which would combat the economic forces of the private sphere. But in Mr. Smith, Capra located the corruption not in the private but in the political sphere—it was the politicians who had usurped the institutions of government on behalf of their own interests and the special interests. When Smith goes to Washington he reveres a Senator from his state who had been a friend of his father. Smith’s father, a newspaperman, had been killed while defending an independent prospector against a mining syndicate that was likely in cahoots with the union. Capra, like Smith and his father, understood America in terms of a common good—a good established by the principles of equality and liberty as the foundation of individual rights.

The setting of Mr. Smith is deliberately timeless. There is no mention of the Depression or of impending war. There is no indication of partisanship. What Capra hopes to bring to life are the words that have been carved in stone on Washington, D.C.’s monuments, but which are now forgotten. That is Jefferson Smith’s purpose as well. In a central scene in the movie, gazing at the lighted dome of the Capitol, Smith says:

… boys forget what their country means by just reading “the land of the free” in history books. Then they get to be men, they forget even more. Liberty is too precious a thing to be buried in books. … Men should hold it up in front of them every single day … and say, “I’m free to think and to speak. My ancestors couldn’t. I can. And my children will.”

What Smith is advocating in the film is the establishment of a boys camp that will teach them about the principles of their country. Moreover, it is not to be paid for by the taxpayers, but with a loan from the government to be paid for by the boys themselves. At the climax of Smith’s battle in the Senate, he says this:

Get up there with that lady that’s up on top of this Capitol dome—that lady that stands for liberty. Take a look at this country through her eyes. … You won’t just see scenery. You’ll see … what man’s carved out for himself after centuries of fighting … for something better than just jungle law—fighting so he can stand on his own two feet, free and decent—like he was created, no matter what his race, color, or creed. That’s what you’d see. There’s no place out there for graft or greed or lies—or compromise with human liberties. And if that’s what the grown-ups have done with this world that was given to them, then we better get those boys camps started fast and see what the kids can do. It’s not too late. … Great principles don’t get lost once they come to light. They’re right here. You just
have to see them again
.

For Capra, like Lincoln, the problem is how to make people see the principles again.

The politicians in Washington in 1939 did not like their portrayal in Mr. Smith. Many tried to keep the movie from being shown. Capra thought it to be a ringing defense of democracy—and the people agreed. It was a tremendous success, not only in America, but throughout the world. In 1942, a month before the Nazi occupation of France was to begin, the Vichy government asked the French people what films they wanted to see before American and British films were banned by the Germans. The great majority wanted to see Mr. Smith. One theater in Paris played the movie for 30 straight nights.

By the time America entered World War II, Capra had become America’s most popular director and was president of the Screen Directors Guild. Yet four days after Pearl Harbor he left Hollywood to join the Armed Forces. He was sent to Washington and was given an office next to the Army Chief of Staff, General George Marshall. Marshall was worried that millions of men would be conscripted, many right off of the farm, having little idea of the reason for the war. He assigned Capra to make “a series of documented, factual-information films—the first in our history—that will explain to our boys in the Army why we are fighting, and the principles for which we are fighting.” Capra was nearly cowed by the assignment. He had never made a documentary. But after giving it some thought, he brilliantly dramatized the difference between the countries at war by using their own films and documentaries, in this way illustrating the character and danger of tyranny.

After the war, with the danger gone, it became increasingly clear that American intellectuals, who had rejected the political principles of the American Founding, had not understood the phenomenon of tyranny. For them, it was simply historical conditions that had established the distinction between right and wrong—or between friend and enemy—during the war. For them, in fighting the Nazis, America had simply been fighting a social movement. Subsequently, they looked on those who still revered America’s Founding principles as representing a reactionary economic and social movement to be opposed here at home. For the same reason, Capra’s wartime documentaries—known collectively as Why We Fight—came to be seen merely as propaganda.

Capra never thought of his documentaries as propaganda. He saw them as recognizing the permanent human problems—those problems that reveal the distinction between right and wrong, good and evil, justice and injustice. The fundamental distinction in politics is between freedom and slavery or democracy and tyranny. Winston Churchill said of Capra’s wartime documentaries, “I have never seen or read any more powerful statement of our cause or of our rightful case against the Nazi tyranny.” In his view, they were not propaganda at all. Churchill insisted that they be shown to every British soldier and in every theater in England. At the end of the war in 1945, General Marshall awarded Capra the Distinguished Service Medal. And on Churchill’s recommendation, Capra was awarded the Order of the British Empire Medal in 1962.

Capra’s last great movie, It’s a Wonderful Life, was made in 1946. Shortly before making it, he said, “There are just two things that are important. One is to strengthen the individual’s belief in himself, and the other, even more important right now, is to combat a modern trend toward atheism.” This movie, he wrote, summed up his philosophy of filmmaking: “First, to exalt the worth of the individual; to champion man—plead his causes, protest any degradation of his dignity, spirit or divinity.” Capra understood that Hollywood would be changing, because the culture and society had begun to change. The historical and personal categories of class and race had become political, and self-expression and self-indulgence had replaced those civic virtues that require self-restraint. In his 1971 autobiography—imagine what he would think today—he wrote that “practically all the Hollywood filmmaking of today is stooping to cheap salacious pornography in a crazy bastardization of a great art to compete for the ‘patronage’ of deviates.”

In 1982, when he was in his 85th year, Capra was awarded the American Film Institute’s Life Achievement Award. In his acceptance speech, he touched on the things that had been most important in his life. He spoke of celebrating his sixth birthday in steerage on a 13-day voyage across the Atlantic. He recalled the lack of privacy and ventilation, and the terrible smell. But he also remembered the ship’s arrival in New York Harbor, when his father brought him on deck and showed him the Statue of Liberty: “Cicco look!” his illiterate peasant father had said. “Look at that! That’s the greatest light since the star of Bethlehem! That’s the light of freedom! Remember that. Freedom.” Capra remembered. In his speech to the Hollywood elite so many years later, he revealed his formula for moviemaking. He said: “The art of Frank Capra is very, very simple. It’s the love of people. Add two simple ideals to this love of people—the freedom of each individual and the equal importance of each individual—and you have the principle upon which I based all my films.”

It is hard to think of a better way to describe Frank Capra’s view of the world, and America’s place in fulfilling its purpose, than to turn to another great American who made his living in the world of motion pictures. Ronald Reagan was a friend and admirer of Frank Capra. They were very much alike. The inscription that Reagan had carved on his tombstone could have been written by Capra: “I know in my heart that man is good. That what is right will always eventually triumph. And there is purpose and worth to each and every life.” Both Capra and Reagan looked to a benevolent and enduring Providence, and the best in man’s nature, as the ultimate grounds of political right. For them, as for Lincoln, America was more than a geographical location or a place where citizens shared a common blood or religion, or belonged to a common culture or tradition. America was a place where an enlightened understanding of “the Laws of Nature and of Nature’s God” had made it possible to establish those principles of civil and religious liberty that gave “purpose and worth to each and every life.”

Capra was aware that the moral foundations established by those principles, as well as belief in God, had become endangered by the transformations in American life following World War II. He saw the necessity of reviving the moral education necessary to preserve the conditions of freedom, because he understood that in a democracy, the people must not only participate in the rule of others, they must also learn to govern themselves.

In his last and most personal tribute to his adopted country, Capra recalled his family’s arrival at Union Station in Los Angeles after their long journey across America in 1903. When they got off the train, his mother and father got on their knees and kissed the ground. Capra’s last words to his assembled audience were these: “For America, for just allowing me to live here, I kiss the ground.” Capra did not believe that he had a right to be a citizen of America. Rather he was grateful for the privilege of living in America. He understood that freedom not only offers economic opportunity, but establishes a duty for all citizens—a duty to preserve the conditions of freedom not only for themselves, but for their posterity. Only those willing to bear the burdens of freedom have a right to its rewards.

For Capra, the real America was to be understood in terms of its virtues, which are derived from its principles. In his view, his art was dedicated to keeping those virtues alive—by making those principles live again in the speeches and deeds of that most uncommon phenomenon of human history, the American common man. It was the simple, unsophisticated, small-town common American that Capra celebrated in his films. But for Capra, as for his friend John Ford, no one epitomized this phenomenon better than Abraham Lincoln.

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