I'm a huge Jimmy Stewart fangirl

This weekend, by happy accident, Nathan and I had not one, but TWO movies on our Netflix queue featuring one of the greatest actors in the history of forever, one James Maitland Stewart ... aka Jimmy Stewart to most of you. I'd like to highlight both of them briefly, in the hopes that more people check out these two enjoyable films.

First, though, a confession...I think I'm in love with Jimmy Stewart (shhh...don't tell Nate!). Funny, because he doesn't have typical "Hollywood heartthrob" looks. But there's just something about him. Maybe it's that famous drawl, which seems so idiosyncratic but is also quite endearing. Then there's those twinkling, expressive eyes, and that impish yet winning smile...

Uhhh, where was I? Oh, yeah, Jimmy Stewart--great actor, gentleman, war veteran, friend of the LDS Church, & all-around great guy. So, on to the films:


Harvey (1950)

A quirky, sweet-hearted comedy, Stewart stars as Elwood P. Dowd, an eccentric (crazy?) guy who's inherited lots of money and a huge society house, yet who prefers to spend most of his time hanging out in bars, befriending the people he meets there. But there's one more problem--Elwood is constantly introducing everyone to his "very best friend," a 6-foot-tall, talking white rabbit named Harvey, whom only Elwood can see and hear. Understandably, this worries and annoys lots of people, particularly his high-strung sister Veta Louise and her daughter Myrtle Mae, who live (squat?) in Elwood's home. Wanting a less strained social life (and maybe freer access to Elwood's riches), Veta Louise arranges to have Elwood committed to a local mental institution. Things go awry, hijinks ensue, yada yada...

This isn't a perfect film; it's adapted from a stage play and really feels like it at times, with the static sets & camerawork, and the excessively broad performances from several actors. Yet it's Stewart (surprise!) who carries the film and almost single-handedly sells the concept. He plays Elwood in a completely straight-faced, understated manner, in stark contrast to the "bigger" performances surrounding him--you're drawn in by his calm, friendly, always sincere manner. Playing a "crazy" person can be a tough job; Stewart makes it look easy. He plays Elwood as a slightly feather-brained, yet persistently optimistic, kind person who is happy to put the interest of others above his own. By so doing, he draws together all the characters in the story, enabling them to see not only Elwood's goodness, but the goodness within themselves and within their loved ones. At the same time, he persuades both the audience & his fellow characters to start believing his story; it becomes easier & easier throughout the movie to believe there really is a 6-foot rabbit named Harvey following Elwood around everywhere.

So is Harvey a fantasy? A tragicomedy? I'm still not sure, but I really liked it. I first saw this many years ago when I lived with my parents; even though I'd seen other Jimmy Stewart films, this is the first one I saw that showed his impressive range of acting abilities.


The Man Who Shot Liberty Valance (1962)

Holy cow, I loved this movie. I'm ashamed to admit, though, that I didn't even KNOW that Jimmy Stewart was in it when we sat down to watch it! I'd heard of it before, but knew it as primarily a John Wayne picture. When the truth became known, I squealed something like, "WHAT?!?!? JOHN WAYNE and JIMMY STEWART in the SAME MOVIE??? WHY haven't I seen this film yet?!?!??"

Okay, on to the recap. Stewart is the first of the two leads we see; he plays Senator Ransom Stoddard. At the beginning of the film, he's returning to the dingy Old West town of Shinbone, a place he lived in for a time many years before. With him is his wife Hallie, a Shinbone native. The purpose for his visit, after so many years away? He's come to pay his respects to one Tom Doniphon (Wayne), who died recently. As the local reporters pester him for more information, Stoddard begins to tell his story--the majority of the film consists of a flashback to Stoddard's time in Shinbone, his interactions with Hallie and Doniphon, and his encounter with the titular Liberty Valance, a particularly greasy rascal played by Lee Marvin.

As Westerns go, this one doesn't look as epic as others--it's largely shot on soundstages & small sets. There's a distinct lack of panoramic vistas that are common in other Westerns of the time (The Searchers and even Stagecoach, another picture--like Liberty Valance--directed by John Ford). However, the drama in this film is of the psychological, ethical variety. The conflict is not man vs. nature, or white man vs. Indian--it deals with man vs. his darkest desires and his strongest impulses. Ransom Stoddard & Tom Doniphon are intriguing opposites. Stoddard is a highly educated, passionate, hot-headed lawyer from back east; Doniphon is a taciturn, emotionally distant, uneducated (yet "street-smart") cattleman. It's fascinating to watch the movie contrast their different approaches to a variety of issues--education, romance, and vengeance.

Although Liberty Valance doesn't have a ton of scenes in the film, his presence looms large both before & after he's shot. He exists primarily as a problem to be solved; the interest lies in seeing how this particular "problem" will be dealt with, and by whom. Both Ransom and Tom have their reasons for wanting Liberty Valance dead; both have different ideas of how to get the job done, and both have different sets of qualms that restrain their actions. The viewer is left wondering throughout much of the film, "So which of these men DOES shoot Liberty Valance?" The answer may surprise you.

A strong supporting cast and a frenetic energy in the script and direction keep the film visually exciting, even though its visual scope is small. I won't lie--the film raises some tough issues, but does pull its punches a bit in resolving them. However, this WAS the 60s, when moral ambiguity in cinema was somewhat frowned upon. Nevertheless, the film does raise lots of questions: Is violence an appropriate way to solve some problems? What happens when guilt battles with ambition in a man's soul? Are there some debts that can never be paid off? And, what's the price of success and renown?

Anyway, it's well worth seeing; both Wayne and Stewart give great performances; they both do a good job conveying men who are alternately enslaved by their present circumstances & haunted by their pasts. If you yourself have Netflix I strongly suggest you try it out!!