Thursday, November 11, 2010

A Face in the Crowd

Glenn Beck has been spending a lot of time talking up his expose on George Soros which began today and it did not disappoint. Nothing that begins with the dramatic lines “83 years ago, George Soros was born. Little did the world know, then, that economy’s would collapse, currencies would become worthless, elections would be stolen, regimes would fall, and one billionaire would find himself, coincidentally, at the center of it all” ever could. But, at the end of today’s long Soros biography, Beck revealed an interesting anecdote: Soros once sent him a present, a copy of A Face in the Crowd on DVD.

Editorial Reviews / Amazon.com essential video

More timely now, perhaps, than when it was first released in 1957, Elia Kazan's overheated political melodrama explores the dangerous manipulative power of pop culture. It exposes the underside of Capra-corn populism, as exemplified in the optimistic fable of grassroots punditry Meet John Doe.

In Kazan's account, scripted by Budd Schulberg, the common-man pontificator (Andy Griffith) is no Gary Cooper-style aw-shucks paragon. Promoted to national fame as a folksy TV idol by radio producer Patricia Neal, Griffith's Larry "Lonesome" Rhodes turns out to be a megalomaniacal rat bastard. The film turns apocalyptic as Rhodes exploits his power to sway the masses, helping to elect a reactionary presidential candidate. The parodies of television commercials and opinion polling were cutting edge in their day (Face in the Crowd was the Network of the Eisenhower era), and there are some startling, near-documentary sequences shot on location in Arkansas. An extraordinary supporting cast (led by Walter Matthau and Lee Remick) helps keep the energy level high, even when the satire turns shrill and unpersuasive in the final reel. There's an interesting parallel in Tim Robbins's snide pseudodocumentary Bob Roberts: both these pictures have almost as much contempt for the lemmings in the audience as for the manipulative monsters who herd them over the cliff. by David Chute







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