Mr. Deeds Goes to Town is astoundingly (and rightfully) confident. Director Capra and screenwriter Robert Riskin don’t shy away from anything in the film–Capra’s more than willing to go with sentimentality, but the film isn’t often sentimental. Even when Jean Arthur’s world-weary reporter breaks down, she doesn’t get sentimental.
Most of the film involves Arthur deceiving Gary Cooper’s titular Mr. Deeds–he’s a small town guy who’s just inherited twenty million dollars–for her story. He becomes infatuated, she starts to regrow her heart. Riskin’s script runs these two subplots parallel to one another, but somehow not concurrent. Deeds maintains three perspectives throughout–Cooper’s, Arthur’s and, in the beginning, Lionel Stander’s.
Stander is sort of Cooper’s sidekick (a rich man’s press agent) but he’s also the first one to come around to Cooper’s way of doing things. Capra and Riskin take the Hollywood norm–the New York newspaper picture–and mix in the social commentary of the Depression, while bringing in a big question of town vs. country values. It’s a very tricky combination and they always do it perfectly; Deeds is a marvel of filmmaking construction. The way Capra uses sound–Cooper and Arthur are romancing in a picturesque New York landmark, the hustle and bustle around them, but the sound just has them. The lovely Joseph Walker photography just adds to it. Lots of quiet moments for Cooper and Arthur, who both give marvelous performances.
Everything about Mr. Deeds is fantastic. It’s an exceptional motion picture.
Produced and directed by Frank Capra; screenplay by Robert Riskin, based on a story by Clarence Budington Kelland; director of photography, Joseph Walker; edited by Gene Havlick; released by Columbia Pictures.
Starring Gary Cooper (Longfellow Deeds), Jean Arthur (Babe Bennett), Lionel Stander (Cornelius Cobb), Douglass Dumbrille (John Cedar), Raymond Walburn (Walter), Ruth Donnelly (Mabel Dawson), George Bancroft (MacWade), Walter Catlett (Morrow), John Wray (Farmer) and H.B. Warner (Judge May).