Mr. Smith Goes to Washington (1939, James Stewart, Dir: Frank Capra)

I remember being forced to watch “Mr. Smith Goes to Washington” in high school civics class. Groans echoed around the room, a symphony of teenage angst at the prospect of black and white and “old.” But something happened during that screening. The film, with its seemingly simple story of an idealistic rube thrown into the viper’s nest of Washington politics, burrowed under my skin. It sparked a fire of indignation, a yearning for something better, a belief, however fragile, that maybe, just maybe, one person could make a difference. Decades later, that feeling hasn’t faded.

The film follows Jefferson Smith (James Stewart, in a career-defining role), the head of the Boy Rangers and all-around nice guy, unexpectedly appointed to the U.S. Senate. He’s a man of the people, awestruck by the monuments and genuinely eager to serve. But his wide-eyed innocence slams hard into the corrupt realities of power, personified by Senator Joseph Paine (Claude Rains), Smith’s childhood hero and now a cog in a crooked machine. Paine and his cronies are pushing a fraudulent dam project, designed to line their pockets, and Smith, with his inconvenient honesty, threatens to expose the scheme.

The true engine that drives the film is the concept of idealism versus cynicism. Smith, with his boyish enthusiasm, represents the naive hope for a government “of the people, by the people, for the people.” The script is filled with swelling patriotic dialogue. But Capra cleverly counterpoints this with the hard-boiled cynicism of Clarissa Saunders (Jean Arthur), a seen-it-all secretary who initially views Smith as nothing more than a buffoon.

A pivotal scene occurs when Smith, horrified by Paine’s betrayal, decides to fight back. He stages a filibuster, a desperate attempt to delay the corrupt bill. For hours, he stands on the Senate floor, reading from the Constitution, quoting Lincoln, pleading with his colleagues to see the truth. This sequence, lasting a solid 20 minutes, is a masterclass in acting and direction. Stewart’s voice cracks with exhaustion, his suit is rumpled, but his spirit remains unbroken. Arthur’s face is etched with fear. We believe that they believe. It’s a brutal, draining sequence that lays bare the cost of fighting for what’s right. We see him go from eager patriot to broken martyr. It is a truly brilliant performance that draws the viewer in and makes them feel as tired, beaten and angry as Smith.

“Mr. Smith” landed in 1939, on the cusp of World War II. America, weary from the Great Depression, was wrestling with isolationism and a growing distrust of government. The film dared to suggest that even in a democracy, corruption could fester, that powerful interests could manipulate the system for their own gain. It wasn’t exactly subtle, but it struck a nerve. Some politicians at the time hated it, fearing it would damage America’s image abroad. Ironically, it became a symbol of American ideals, a reminder of the values the country was supposedly fighting to defend. In that era, people were looking for an escape from their hardships and this film offered a glimpse of hope that things could get better in the future.

Technically, the film is a triumph of classic Hollywood filmmaking. The cinematography, by Joseph Walker, bathes Washington D.C. in both majestic light and shadowy darkness, reflecting the dual nature of the city. The camera sweeps and soars, particularly during Smith’s initial arrival in Washington, conveying his sense of wonder. Dimitri Tiomkin’s score is unabashedly patriotic, swelling with strings and brass during moments of high drama, subtly shifting to somber tones during Smith’s darker moments. The editing is sharp, and the pacing keeps the film moving despite its lengthy runtime. Although we are used to more sophisticated styles of filming, the basic techniques are still relevant today and it doesn’t feel dated in its style.

There are moments that, viewed through a contemporary lens, might seem a little too sentimental or simplistic. The idealized image of small-town America, the somewhat clunky dialogue at times; these elements can feel a little dated. And it’s fair to say the film oversimplifies the complexities of political compromise. Things are rarely as black and white as “good guy fights bad guys.” Some also felt that the dialogue felt a little unrealistic, but it does help to make the viewer understand the situation a lot better.

But that’s also part of its charm. “Mr. Smith” isn’t a cynical expose; it’s a hopeful fable. It reminds us that even in the face of overwhelming odds, individual integrity matters. It’s a call to action, a plea to hold our elected officials accountable. We’re talking about today and it is still relevant. In an era of rampant misinformation, political polarization, and seemingly endless scandals, Smith’s unwavering commitment to truth and justice feels more relevant than ever. It’s easy to become jaded, to dismiss politics as a dirty game, but “Mr. Smith” dares us to believe in the possibility of something better.

The ending, of course, is a classic Capra-esque triumph of good over evil. But the victory feels earned, not simply handed out. Smith’s fight has taken a toll, and the film acknowledges the sacrifices involved in standing up for what’s right. The final shot, of Smith standing tall, a beacon of hope against the backdrop of the Capitol, is undeniably powerful, but it’s also a reminder that the struggle continues.

“Mr. Smith Goes to Washington” isn’t just a great film; it’s a cultural touchstone. It’s a reminder that civic engagement matters, that even one person can make a difference, and that idealism, even when naive, is worth fighting for. And honestly, in a world drowning in cynicism, that’s a message we desperately need to hear. It leaves you feeling uplifted and positive about the world we live in.