American Madness (1932)

Banking On Character:
Currency of the Times
American Madness (1932)
Studio: Columbia Pictures • 76 min B&W • AR 1.33:1 • US: 4 Aug 1932
Re-release: Sony Pictures (Dec 2006)
Series: Premiere Frank Capra Collection (6-DVD)
Starring: Walter Huston, Pat O’Brien, Kay Johnson, Constance Cummings, Gavin Gordon
Dir: Frank Capra

On the audio commentary track, it is stated that “a run on a bank couldn’t happen today because our money is protected”. That was recorded in 2005; how times change — and how things remain the same! In the midst of our own century’s most traumatic financial crisis, where not just 25% of banks but virtually every American bank has failed — American Madness, made in 1932, speaks directly to our own fears of economic collapse driven by rumour and manipulation. Now identified as the first genuinely “Capra-eske” outing (although it was his 17th of 25 films made at Columbia), here you’ll find soft-core villains, stirring debates, passionate pleas leading to last minute saves, and a happy bundle of tied up loose ends as the final credits roll.

Thomas Dickson (Walter Huston) is president of Union National Bank, an institution he founded 25 years earlier and remains successful, even in the midst of depression. All the trappings of success are evident: mighty columns, a massive vault door, marble floors and staircases leading to wood panelled executive offices and countless staff serving the public. But at the Board of Directors’ meeting — for which Dickson is late — there is a desire to replace the president because of loans he’s making based on character instead of collateral. Although a coup is at hand, when Dickson arrives, he argues for faith over money, and character as the true currency of loans. He reminds the board that his judgement has made them all rich and his policies have resulted in not a single defaulted loan. He squashes their yen for a merger with another bank and dismisses them.

Matt Brown (Pat O’Brien) is the man with the combination, opening and sealing the time-lock vault every day. He’d like to marry Helen (Constance Cummings), Dickson’s private secretary, but is waiting for a promotion to Assistant Cashier. His boss, the Chief Cashier Cyril Cluett (Gavin Gordon), is single and has a propensity to gamble. When a well-known gangster comes to Cluett’s office to discuss repayment, Helen, recognizing the crooks, takes note. The only thing that will save Cluett is to find $50,000 fast: the gangsters convince him to leave the time-lock alarm off and find a strong alibi for midnight — tonight! When Mrs Dickson (Kay Johnson) also visits the bank, she is crushed to learn her beloved, who is married more to the bank than to her, has made business plans for their wedding anniversary — tonight! Although understanding, she accepts the flirtations of Cluett and agrees to spend an evening at the theatre with him; and so, Cluett will have his alibi!

In the midst of a dreadful rainstorm, Mrs Dickson and Cluett arrive back at his apartment — as the clock strikes midnight — only to discover Matt waiting for them. He pleads with Mrs Dickson not to throw away her marriage and scolds Cluett for his philandering. Meanwhile, the robbery is taking place and the night watchman, who stumbles upon the event, is killed. During the course of the next day, rumours spread that the bank was robbed and will be forced to default. During a run on the bank, Dickson implores his board, and his customers, to accept his word that everything will be alright. But when Dickson learns Matt, keeper of the vault’s combination, is charged with the crime and that Matt’s alibi involves his own wife, he is broken. Even Dickson’s board refuses to put their own money on the line to help the temporary cash flow problem. Who can save him? What if everyday customers came down to make deposits instead of withdrawals ….

Toronto born Walter Huston is marvelous in this role: upbeat, confident, trusting, determined and, above all, fearless. Although only 48 at the time, he evokes a believably spry 60. Though he’d worked for Universal, Paramount and Warner Bros (and only two years earlier starred in DW Griffiths’ studio’s last production, Abraham Lincoln), Columbia Pictures — which at the time was viewed as a “poverty row” studio — managed to snag him for a role that became a Capra archetype of defender of the everyman who faces his darkest hour and ultimately is redeemed by those he has helped. Lanky, energetic and direct, Huston inhabits every frame in the same way James Stewart, Cary Cooper and Gregory Peck would in similar circumstances (and often with Capra at the helm).

Kay Johnson, though 20 years younger than Huston, manages to look fifty-ish and plays the role of unappreciated, but always full of love wife, with aplomb — though with a whiff of non-descriptness, it must be said. Her career was relatively short; she’d later have roles in Of Human Bondage and the Edmund Goulding film, White Banners. Pat O’Brien well fills the shoes of a hard-working, loyal employee — and whose back story includes being an ex-con in whom only Dickson had faith. His career as supporting actor in ensemble pieces was rich, opposite such stars as James Cagney in Angels With Dirty Faces, and tending to become more Irish over the years including his most famous role as Coach Knute Rockne. Like many contract players of the studio era, from the mid-50s he graduated to television work, finally appearing in his 80s as Uncle Joe in Happy Days. If there is less to say about Constance Cummings and Gavin Gordon (and his decidedly odd make-up), it says more about Walter Huston who dominates the picture (in a nice way).

As for Frank Capra, American Madness marked his first “iconic” work but hardly his first success. He already had Platinum Blonde with Jean Harlow and Loretta Young behind him, usually associated with Columbia. He’d completed about a dozen silents for the studio, often as director, writer and sometimes producer as well, turning out a string of successful films laying the ground work for big budget features with big budget stars such as It Happened One Night, Mr Deeds Goes To Town, You Can’t Take It With You and Mr Smith Goes To Washington — all, happily, contained in this collection. (It’s a pity this set does not extend to include Lost Horizon.) Capra was nominated for four Oscars as Best Director for films in this set; he won for three of them. So, the 1930s was Capra’s decade, yes? Remarkably, Meet John Doe, Arsenic and Old Lace, It’s a Wonderful Life, A Hole In The Head and Pocketful of Miracles lay ahead. (Side note: the MoMA — Museum of Modern Art — lists Capra, one of the most quintessentially American directors ever, giving voice to American values, as “Italian”. Sheeeesh!)

“The Premiere Frank Capra Collection” from Sony contains commentaries, a handsome, lovingly produced 60 pg printed tribute, and Ron Howard’s 2 hr documentary — plus other extras devoted to specific films, like American Madness, with 20 min of Frank Capra Jr reminiscing about his father and this production. The print is very good, with only occasional short scenes not taken from ideal sources, while the sound is stronger than many films from its era. Without reservation, this is class packaging and restoration. It’s a special treat, too, since American Madness has largely been overlooked by his later films including It’s A Wonderful Life which owes much to this “screen test”.