Young Mr Lincoln [DVD] [1939]

Arguably one of the most capable Hollywood actors, Henry Fonda could sometimes come across as somewhat detached from his part, even cold and emotionless. Hence Leone's brilliant casting of him as the sadistic killer in "Once Upon a Time in the West". As Lincoln, however, Fonda is utterly immersed in the role; so much so that you see Lincoln on screen, not Fonda.

When invited by John Ford to take the part, Fonda's response was "Well, to me, that was like being asked to play Jesus Christ" - he jumped at it. This huge emotional and intellectual tie with his part pays dividends with an actor of Fonda's class. He becomes Lincoln; he makes you understand all the early motivations, the struggle for an education, the intelligence, courage, wit, and humanity of this possibly greatest of all American Presidents. Fonda was helped enormously, of course, by Ford's immense talent as a director. Here, Ford was tackling some of his favourite themes: the moral integrity of America's farming class, the triumph of this homespun integrity over "city slickers", and how the courage of your convictions can carry you through adversity. This time though, Ford had a real rags-to-riches story, proof positive that his optimistic philosophy works without being in the least sentimental. As a result, this film works brilliantly, so well that you cannot imagine it being done better by a different director or a different lead.

The story covers Lincoln's passage from farmer/storekeeper to self-taught lawyer in Springfield. Aside from a series of highly entertaining cameos illustrating the development of Lincoln's political skills, the bulk of the action centres around a trial which appears to be grounded in myth. It doesn't matter, it's one of the best trial scenes on film, extremely moving and, if it isn't true, it should have been.

By any measure, this is a great film. You can admire it for Ford's artistry and intuitive understanding of his subject, probably more evident in this film than in his better known works. Or you can marvel at Henry Fonda's acting skills and his total empathy with his character. This is method acting, ten years before it was invented! Even better, just sit down and enjoy it, for the first time of many.

John Ford is probably not the classical director most easily understood by contemporary audiences,
and this is probably not his most easily understood film... But, fellas, lo and behold the strange beauty of the images,
the richness of cultural citations and connotations: this is the american cinematic mythmaking at its best; no wonder that the critics of Cahiers du cinema, in their radical phase, chose it as
an exemplary Hollywood film.

If you like classical Hollywood, biopics Henry Fonda or Ford, you shouldn't miss this one (although it's hardly a "typical" ford film).

At one level I liked Young Mr. Lincoln a lot. The film is a black-and-white picture postcard to look at, with immaculate framing and carefully selected imagery to extend the visual idea of early America. It's also a remarkable example of Hollywood myth-making, laying on with a trowel the nobility, natural shrewdness, sensitivity and common-man origins of the man who became a myth. Plus it brings out all the John Ford sympathies for the honesty and goodness of hard-workin' folks. I found myself unmoved by the reverential attitude of the movie; I felt a hymn was always playing in the background, and, sure enough, a hymn, or something close enough, starts playing at the end. With all the research and excellent books about Lincoln around nowadays, with all that we've come to learn about the man, I can't help but think that Lincoln would be smiling if he saw this film.

Yet, it's effective as all get out in portraying a myth we want to believe about American life on the frontier and of the man who became our greatest president. There's not a scene in the movie where Ford doesn't fail to effectively stress a simple emotion, like love, humor, longing, honesty and doubt. He cleverly demonstrates in many scenes, particularly in the courtroom, Lincoln's shrewdness. Lincoln consistently outwits others, whether in a tug-o-war, with a man's name, selecting a juror, facing down a mob or trapping a murderer. He might use a request to sample some turnip greens because he's hungry, but he really wants a reason to ask a woman in private to tell him a secret she cannot say in front of others.

Henry Fonda, even with a false nose, gives a myth-making performance, himself. Lincoln's homespun nobility is emphasized by Ford with such an unrelenting consistency that I think only Fonda's innate likeabilty and skill make it interesting. Lincoln's ambition and ability to move a crowd his way are only alluded to, but Fonda shows us (and so does Ford) that there was iron in Lincoln's soul.

The movie is a beauty to look at. I don't know how many times we see someone, especially Lincoln, on a hill posed against a cloudy sky, with a tree framing the shot, but it works every time. The lengthy vignettes in the first half of the movie showing us the down-to-earth delights of the Fourth of July celebration -- the tug-o-war, the pie contest -- is pure corn, pure John Ford, and still purely effective in making us think there might really have been a time like this -- just like this -- in our history. Who knows, I'm sure there was.

The Criterion presentation is excellent. Included in the case is a 27-page booklet with essays on Lincoln and Ford. The extras on the second disc contain, among other items, a profile on Ford and a lengthy interview with Fonda.

I watched this movie on the Fourth of July, and was reminded that 180 years ago, also on the Fourth, Thomas Jefferson and John Adams died...on the fiftieth anniversary of their signing the Declaration of Independence.