A Face in the Crowd

"A Face in the Crowd" is justly praised as a classic film. Larry "Lonesome" Rhodes is a two-bit drunk who becomes a massive television star with the help of broadcaster Marica Jeffries. Made in 1957, the film is incredibly prescient on the power of television to create a cult of personality. (Sound familiar?) It also shows how a "down home" personality can help a politician far more than intelligence. (Sound even more familiar?)

"A Face in the Crowd" has other pleasures as well. Andy Griffith offers a remarkably energetic and assured performance as Lonesome in his big screen debut. Director Elia Kazan captures many memorable images: Jeffries buttoning up her blouse upon encountering Lonesome, electric lights demanding "APPLAUSE" as young women embrace Lonesome on air, Jeffries walking down an empty tarmac after being betrayed by Lonesome.

And yet. This is an awfully heavy-handed film. The filmmakers underscore their message in virtually every scene. There is little subtlety, nuance or variation in tone. The film's worst impulses are embodied by a grim-faced Walter Matheau, a disillusioned writer for Lonesome who effectively serves as the mouthpiece for the filmmakers.

In other words, the ideas here are much more interesting than the characters or story. But there is one relationship that saves "A Face in the Crowd" from being a mere polemic. Jeffries is charmed by Lonesome and helps him rise to power, yet she sees the corrupting influence it has on him. Even as he becomes ever more manipulative of his public, she continues to work with him. She seems to still harbor some affection for him, despite his callous behavior towards her. A bit more of this sort of complexity would have turned a very good film into a great one.