Like the roar of a lion or the maniacal laugh of thousands, Andy Griffith burst on the screen with a performance unmatched in the past 53 years. Using the direction of the infamous Elia Kazan, and words by Budd Schulberg, "A Face in the Crowd" transformed from a personal struggle with fame into a political statement of power. Since the birth of radio and television, or even before, the concept of celebrity followed side by side. This select 1% of the population was used to sell ads, promote products, and lastly, entertain the populous. Not much has changed as Hollywood has evolved; the wealthy still control and the audience still depend on their favorite voice to tell them what to get at the grocery store. The interesting point about this, explored deeply in Schulberg's script, is how quickly the mass audiences can casual drop one figure and follow anew. As one reads this review, the teens may have forgotten the Jonas Brothers and found a new follower, our Late Night hosts may all have new faces, and our "Avatar" may not be barreling through the theaters. Even as I write this, it feels stale. Surprisingly, watching "A Face in the Crowd" for the first time, there was a lack of preparedness for these points. One doesn't expect such a modern film found in 1957 (much less lead by the sheriff of Mayberry), but within the first twenty minutes, the average viewer will be surprised by what the screen allows. With bold direction, amazing acting, and valid, detailed points about our entertainment industry, "A Face in the Crowd" makes its mark in 1957 and remains valuable today in 2010 – one could even argue MORE valuable today.
While watching this film, there is one person that steals the screen in the opening minutes and never releases for a solid two hours. His name is Andy Griffith, and while he will always be known as the quintessential small town hero, his film debut proved his range went further. With a diabolical laugh, a country-boy appeal, and a voice that could swoon anyone within an earshot, he takes what should have been a role for a seasoned veteran, and creates this iconic role that, after watching the film, could only be done by Mayberry himself. From his introduction in a cell recovering from a drunken disorderly charge, he finds his escape in the form of Patricial Neal, who in turn, introduces Griffith to the world of radio; aka mass audiences. Using a form of trickery, Neal demonstrates Griffith's power and the world welcomes him (unsuspectingly) with open arms. The small town of Arkansas does anything he wants, but he doesn't stop there. By becoming our very first Howard Stern, he does what he wants and says anything at all – and becomes the infamous "Demigod in Denim". The shift in Griffith's character is subtle, yet somewhat planned. He portrays Lonesome Rhodes as a man inheriting luck, but the calculated look on his face indicates otherwise. That is the perplexity of Griffith, one believes that it is just him being himself, but he peppers within his lines these moments of unknown – where perhaps this was Rhodes' plan all along. Bridled next to both Neal, who adds a strong level of support, sexuality, and madness, and a youthful Walter Matthau who brings the final worded-axe down at the finale; it doesn't surprised the ability and range that Griffith had to accomplish. The acting in this film will not only surprise, but also impress. This is the type of quality that Hollywood could produce, yet rarely do we see.
Having just finished "Cabin in the Cotton", a film that used politics as a miscalculation to cinema, it was impressive to see Elia Kazan handle this issue with artistic talent as well as solid direction. Despite his dismay in Hollywood, his talent behind the camera glimmered in this feature as colors (blacks and whites) were bold, the symbolism was apparent, and the emotions were captured perfectly. He guided Neal through her tragic turn, while keeping Matthau solid as a rock throughout. He controlled Griffith, while allowing him to run throughout the scenes with ease. "Face in the Crowd" is a difficult film to direct, as there is both emotion and intent running rampant, but Kazan proves the he can handle Schulberg's words. There are scenes that just feel, and look, more modern than 1957. The one that immediately pops into mind is the montage surrounding Rhodes' introduction into Vitajex. The blend of animation, perverse snippets, and that disturbing laugh didn't feel old – it felt like a moment taken from 2010 (just in black and white). There are others like that scene throughout. The baton competition was one of the most intensely awkward scenes, as we knew what was happening, but didn't want to believe it. Again, modern ideas strewn throughout 1957, where the average '57 film felt didn't push the envelope – Kazan didn't care about the envelope.
Finally, Schulberg's script has to be one of the best Hollywood stories to come out of that town. The images of Griffith laughing stapled behind several TV antennae, just barely scares the average viewer. Schulberg, like Kazan, isn't afraid of his idea. He pushes from radio to television, an audience of one to millions upon millions, and finally guiding politicians into office. Does this feel like an old idea? The modern implications are outstanding. The language as well, coming from Griffith (who had to ad-lib some) is wildly entertaining, but subtly symbolic, and those final thoughts by Matthau require another viewing just to hear again. Everyone, from writing to direction to acting, gave "Face in the Crowd" more than 100% of their talent, and this critic believes that Griffith may have fallen into the Mayberry sinkhole too soon. If this was his ability, he was surely wasted in Hollywood.
Bravo across the board, BRAVO!
Grade: ***** out of *****
While watching this film, there is one person that steals the screen in the opening minutes and never releases for a solid two hours. His name is Andy Griffith, and while he will always be known as the quintessential small town hero, his film debut proved his range went further. With a diabolical laugh, a country-boy appeal, and a voice that could swoon anyone within an earshot, he takes what should have been a role for a seasoned veteran, and creates this iconic role that, after watching the film, could only be done by Mayberry himself. From his introduction in a cell recovering from a drunken disorderly charge, he finds his escape in the form of Patricial Neal, who in turn, introduces Griffith to the world of radio; aka mass audiences. Using a form of trickery, Neal demonstrates Griffith's power and the world welcomes him (unsuspectingly) with open arms. The small town of Arkansas does anything he wants, but he doesn't stop there. By becoming our very first Howard Stern, he does what he wants and says anything at all – and becomes the infamous "Demigod in Denim". The shift in Griffith's character is subtle, yet somewhat planned. He portrays Lonesome Rhodes as a man inheriting luck, but the calculated look on his face indicates otherwise. That is the perplexity of Griffith, one believes that it is just him being himself, but he peppers within his lines these moments of unknown – where perhaps this was Rhodes' plan all along. Bridled next to both Neal, who adds a strong level of support, sexuality, and madness, and a youthful Walter Matthau who brings the final worded-axe down at the finale; it doesn't surprised the ability and range that Griffith had to accomplish. The acting in this film will not only surprise, but also impress. This is the type of quality that Hollywood could produce, yet rarely do we see.
Having just finished "Cabin in the Cotton", a film that used politics as a miscalculation to cinema, it was impressive to see Elia Kazan handle this issue with artistic talent as well as solid direction. Despite his dismay in Hollywood, his talent behind the camera glimmered in this feature as colors (blacks and whites) were bold, the symbolism was apparent, and the emotions were captured perfectly. He guided Neal through her tragic turn, while keeping Matthau solid as a rock throughout. He controlled Griffith, while allowing him to run throughout the scenes with ease. "Face in the Crowd" is a difficult film to direct, as there is both emotion and intent running rampant, but Kazan proves the he can handle Schulberg's words. There are scenes that just feel, and look, more modern than 1957. The one that immediately pops into mind is the montage surrounding Rhodes' introduction into Vitajex. The blend of animation, perverse snippets, and that disturbing laugh didn't feel old – it felt like a moment taken from 2010 (just in black and white). There are others like that scene throughout. The baton competition was one of the most intensely awkward scenes, as we knew what was happening, but didn't want to believe it. Again, modern ideas strewn throughout 1957, where the average '57 film felt didn't push the envelope – Kazan didn't care about the envelope.
Finally, Schulberg's script has to be one of the best Hollywood stories to come out of that town. The images of Griffith laughing stapled behind several TV antennae, just barely scares the average viewer. Schulberg, like Kazan, isn't afraid of his idea. He pushes from radio to television, an audience of one to millions upon millions, and finally guiding politicians into office. Does this feel like an old idea? The modern implications are outstanding. The language as well, coming from Griffith (who had to ad-lib some) is wildly entertaining, but subtly symbolic, and those final thoughts by Matthau require another viewing just to hear again. Everyone, from writing to direction to acting, gave "Face in the Crowd" more than 100% of their talent, and this critic believes that Griffith may have fallen into the Mayberry sinkhole too soon. If this was his ability, he was surely wasted in Hollywood.
Bravo across the board, BRAVO!
Grade: ***** out of *****