It was in Mr. Deeds Goes to Town that Frank Capra perfected the blend of comedy and social commentary that would become his trademark. The screwball comedy was graceful rather than frantic, and the social elements of Robert Riskin's fine screenplay are handled in an even-handed manner that earned Capra the second of his three Academy Awards for Best Director. Both Gary Cooper, as the tuba playing no-nonsense Longfellow Deeds, and Jean Arthur, as the reporter who exploits him until she falls for his goodness are wonderful in this true Capra classic.

Longfellow Deeds (Cooper) lives in the small town of Mandrake Falls where he earns his living writing greeting card poems and spends his free time playing the tuba. He is less than enthused when a bunch of big city attorneys show up at his door to tell him he has just inherited 20 million dollars from a relative he’s never met. They want him to sign over his power of attorney. Deeds goes to the city with them mainly so he can get a look at Grant's Tomb.

Cooper’s Deeds is honest and good, but no pushover. His initial reluctance about the situation proves wise as everyone wants to mooch off him while at the same time making him look a fool. Deeds gives as good as he gets and wins over the crusty Cornelius Cobb (Lionell Stander) to his way of doing things, but he can't get around the way a certain Louise Bennet is mocking his every escapade in the papers, making him look like a country bumpkin.

But Deeds knows it doesn't matter when he meets the sweet Mary Dawson (Jean Arthur), a lady in distress who becomes his constant companion. The lonely deeds no longer has to go off by himself like he did back home, where he talked to an imaginary girl. He tells Mary that she makes up for all the fakes he's met and writes a poem to her telling her how much he loves her. But nothing is as it seems to Deeds.

Arthur is wonderful as the cynical reporter who slowly realizes that Longfellow is straightforward and honest. She realizes it is everyone else’s viewpoint that is distorted. But will the truth ruin everything? Deeds is ready to pack it up and head back to Mandrake Falls until a starving farmer during the Great Depression gives Deeds an idea. It sets in motion a courtroom showdown where, as Cobb says, “Lamb Bites Wolf!”

Cooper and Arthur are memorable together in this wonderful Frank Capra classic. You’ll definitely get choked up when she reads Longfellow's poem about her on the steps of her apartment. Arthur does, because the words he has said earlier to a group of published poets making fun of him echo in her heart: "I guess it's alright to hurt someone as long as you don't care how much you hurt them."

If all the great Capra classics were represented by a vase full of red roses, this would be the one white rose in the center. It is flawless and pure, and represents everything that was special about the films of the first director allowed to have his name above the title. After seeing this film, you'll know why. ( )

A small-town eccentric inherits a fortune.

Funny and sweet. Cooper and Arthur are both fun to watch.

Concept: B
Story: C
Characters: B
Dialog: B
Pacing: B
Cinematography: C
Special effects/design: C
Acting: B
Music: C

Enjoyment: B

GPA: 2.6/4 ( )