There's a reason why so much of the material in MR. DEEDS GOES TO TOWN seems like a retread of other Frank Capra movies. We have GARY COOPER in the role of a lovable "everyman" on the right side of justice being taken for a ride by less than honorable "thieves"; we have JEAN ARTHUR, at first only pretending to be on Cooper's side and betraying him by withholding her real identity until she comes clean for the rousing finale; and, of course, the black-hearted villain of the piece is DOUGLAS DUMBRILLE (instead of CLAUDE RAINS in Mr. Smith Goes to Washington). And so, for a film that is a relic of the '30s screwball comedy, much will depend on whether you find the chemistry between Cooper and Arthur enough to sustain the somewhat hokey plot.
GARY COOPER is at his most affable and charming in his role as Longfellow Deeds, naive and trusting until he finds himself caught up in a crusade against the bad guys and JEAN ARTHUR has played this role so often that she fits the part perfectly. But the sentiment is something Capra can never quite let go of (in all his films), and the silliness sometimes borders on the absurd.
For fans of Cooper and Arthur, this is a "must see" comedy that is firmly planted in the '30s-era of film-making with its simplistic message of honesty vs. corporate greed. Cooper deserved his Oscar nomination but it's doubtful whether the film really deserved to be called the Best Picture of '36 by the Academy.
Trivia note: Some of the best lines go to LIONEL STANDER as the "conscience" of the story and he delivers them with a sharp flair for comedy.
GARY COOPER is at his most affable and charming in his role as Longfellow Deeds, naive and trusting until he finds himself caught up in a crusade against the bad guys and JEAN ARTHUR has played this role so often that she fits the part perfectly. But the sentiment is something Capra can never quite let go of (in all his films), and the silliness sometimes borders on the absurd.
For fans of Cooper and Arthur, this is a "must see" comedy that is firmly planted in the '30s-era of film-making with its simplistic message of honesty vs. corporate greed. Cooper deserved his Oscar nomination but it's doubtful whether the film really deserved to be called the Best Picture of '36 by the Academy.
Trivia note: Some of the best lines go to LIONEL STANDER as the "conscience" of the story and he delivers them with a sharp flair for comedy.