News
Garber Announces Advisory Committee for Harvard Law School Dean Search
News
First Harvard Prize Book in Kosovo Established by Harvard Alumni
News
Ryan Murdock ’25 Remembered as Dedicated Advocate and Caring Friend
News
Harvard Faculty Appeal Temporary Suspensions From Widener Library
News
Man Who Managed Clients for High-End Cambridge Brothel Network Pleads Guilty
Directed by Elia Kazan
Warner Bros.
The homespun southern charm of an overnight media celebrity enthralls
the nation through television even as he becomes corrupt, bitter, and
political.
Lonesome Rhodes (Andy “Matlock” Griffith’s first serious
role) is a local drunk discovered by radio host Marcia Jefferies
(Patricia Neal) for her show “A Face in the Crowd”; the immediate
popular response quickly leads to Rhodes landing a regular radio show,
a local tv show, and a national show in quick succession, all under the
production of love-interest Jefferies. Even politicians want in on his
accessibility. Can Rhodes maintain his meteoric rise?
With its overtones invoking cultural phenomenon from George W.
Bush to the cult of American Idol, “A Face in the Crowd,” maintains an
astonishing relevancy even as a 50-year old self-conscious “message
movie.”
The highlight is a supporting performance by Walter Matthau
as a writer on Rhodes’ national show who also falls in love with
Jefferies; he cynically comments on the action without having the
confidence to interfere. Besides biting wit, Matthau conveys the
frustration of Cold War intellectuals unable to find a way out of the
national chaos percolating around them during the anti-Communist 1950s.
The role is an important one as a Kazan movie is inevitably
seen in light of his decision to name names to the House Unamerican
Activities Committee (HUAC), the organ for official McCarthyism,
particularly as Budd Schulberg, Kazan’s screenwriter on this picture
and “On the Waterfront” also acted as a “friendly witness” against
alleged Communists. The Matthau character shows the self-hatred at an
inability to create a viable third way.
But this is just an additional layer. The film itself is an
intensely prescient and entertaining look at the power of television to
mesmerize America, showing the new technological version of “bread and
circuses” years before the Kennedy-Nixon debates proved that someone’s
television performance could be decisive in a national election.
—Staff writer Scoop A. Wasserstein can be reached at wasserst@fas.harvard.edu.
Want to keep up with breaking news? Subscribe to our email newsletter.