Lil works for the Legendre Company and causes Bill to divorce Irene and marry her. She has an affair with businessman Gaerste and uses him to force society to pay attention to her. She has ... See full summary »
Newly inaugurated President Judson Hammond is content to live out the next four years exercising a hands-off approach and leaving the problems of Depression America to local authorities. But after a miraculous recovery from an auto accident, Hammond is ready to take on every social ill and neither Congress, gangsters nor the nations of the world will stop him. Written by
Erik Gregersen <firstname.lastname@example.org>
The protest march of the "army of the unemployed" in the story was no doubt a reference to the protest march of the "Bonus Army" in 1932, where veterans of WWI marched on Congress to demand payment of promised bonuses. They were attacked with tanks and tear gas by the U.S. Army led by Gen. Douglas MacArthur on orders of President Herbert Hoover. William Randolph Hearst, who railed against that action in his newpapers, saw to it that the President in this film helped the people. Meanwhile, Louis B. Mayer, a staunch Republican, delayed the movie until Hoover was out of office. See more »
Through out the whole movie Walter Huston's hair is combed differently in one continuous scene after another. It's obvious many of the cuts back to him are from different takes. See more »
I remember having seen this movie when I was very young, and it impressed me then as propaganda for President Roosevelt's New Deal. Now I know better, and have read something about its real history. William Randolph Hearst had become an FDR fan, and had this picture made by his Cosmopolitan productions, affiliated with MGM, in order to express what he hoped the new President would do. MGM's boss, Louis B. Mayer, a staunch Republican, shelved the picture until after the Roosevelt inauguration. Now we can see that what Hearst expected FDR to do by dictatorial means, the President achieved as a real believer in Democracy. The picture is intelligent; Walter Huston's performance, brilliant, as well as the supporting work by Karen Morley and Franchot Tone (was this his movie debut?). The direction by Gregory LaCava, exceptional, as he managed to make the audience believe in such far-fetched and unbelievable sequences as the "war" against racketeers with courts martial included, but he could not avoid the allusions to the Archangel Gabriel sounding ridiculous. Anyhow this a curious motion picture, and probably the most politically inclined ever made by a major Hollywood studio. But the fascistic leanings of Hearst could not be hidden, not even by a producer as liberal in politics as Walter Wanger.
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