Evengyny Thanks for the memories!

Titreenp SERIOUSLY. This is what the crap Hollywood still puts out?

Protraph Lack of good storyline.

Clarissa Mora The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

Jugu Abraham Wonderful original screenplay by Budd Schulzberg and good performances by the leads. Good film that explores the power of the media on the same lines as Billy Wilder's "Ace in the Hole" made 6 years prior to this work. Only difference was the two films dealt with different media.

charlesem I don't know if TCM intentionally "counterprogrammed" the Trump inauguration by scheduling Elia Kazan's film about a faux-populist demagogue on the same day as the ceremony, but it sure looks like it, and I approve. Like Trump, A Face in the Crowd's Larry "Lonesome" Rhodes (Andy Griffith) is a product of the media's amoral pursuit of the colorful character, a man lifted to uncommon power by those entertained by the flamboyance and vulgarity. Rhodes (perhaps like Trump) isn't so much the villain of Budd Schulberg's story and screenplay as are his enablers, Marcia Jeffries (Patricia Neal) and Mel Miller (Walter Matthau), and his exploiters, like Joey DePalma (Anthony Franciosa), who enrich themselves while discovering the previously untapped potential of mass media. In 1957, this potential was just beginning to be realized, but 60 years later it had taken a dangerous man to the White House. I don't think Kazan and Schulberg fully realized that possibility, just as Sidney Lumet and Paddy Chayefsky didn't fully realize the prescience of Network (Lumet, 1976). Both films should serve as a permanent warning that today's satire is tomorrow's nightmare. A Face in the Crowd is an important film without being a great one. Schulberg's screenplay falls apart in the middle, and the denouement in which Marcia somehow comes to her senses and exposes Rhodes as a fraud is awkward and mechanical, largely because Marcia herself is something of a mechanical character. An actress of considerable skill, Neal does what she can to make the character live, but the words aren't there in the script to explain why she tolerates Rhodes's fraudulence as long as she does. Matthau and Franciosa come off a little better because their roles are written as stereotypes: Cynical Writer and Go-getting Hot Shot. So the film really belongs to Griffith, who parlays his dead-eyed shark's grin into something that should have been the foundation of a career with more highlights than a folksy sitcom and an old-fart detective show. It's a charismatic but ragged performance that needed a little more shaping from writer and director, something that Kazan admitted to himself in his diaries when he wrote about Rhodes and the film, "The complexity ... was left out." Rather than having Rhodes revealed as a fraud to his followers, Kazan said, Rhodes should have been allowed to recognize that he had been trapped his own fraudulence. Deprived of anagnorisis, a moment of tragic self-recognition, Rhodes becomes a figure of melodrama, bellowing "Marcia!" from the balcony at the end but probably fated to make what Miller suggests to him, the comeback of a has-been. Fortunately, Kazan and Schulberg were wise enough to change their original ending, in which Rhodes commits suicide -- there's not enough tragedy in their conception of the character for that. (charlesmatthews.blogspot.com)

Matthew Kresal There are films that are both a product of the time they are created in and yet timeless. They are films that remain prescient in the years and decades after their initial release. They may linger in the background but they are films that stand the test of time. A Face In The Crowd, released in 1957 and marking the breakthrough role for an up and coming Andy Griffith, is exactly that kind of movie. As a sit here writing this review in 2016, the film seems like a warning from decades ago and a warning prescient for the time we live in now.The heart of the film is Andy Griffith as Lonesome Rhodes, a drifter who through his talents and folksy charm manages to rise not just to celebrity status but to the cusp of potential political power. For those who only know Griffith from his roles as Sheriff Andy Taylor and the lawyer Matlock, this role is a revelation. All of that charm is there but it's just the tip of the iceberg that is the Rhodes character. Griffith's as Rhodes is a volcano, a man of extreme energy and talent who can be loving and charming one minute but hateful, spiteful, and downright unlikable the next. The depth and range that Griffith shows is simply startling and whenever he's on- screen (which is much of the film) you can not take your eyes off of him as he goes through the great American story of a man's rise and fall. That Griffith wasn't nominated for any kind of award for his performance is as startling as his performance as it is a performance of a lifetime and one that stays with the viewer long after the film is over.Right beside Griffith is Patricia Neal as Marcia Jeffries, the Arkansas radio producer who first discover Rhodes and gives him his new name and who goes with him on his journey through the film. Neal's performance is just as stunning as Griffith, a woman who goes on the incredible journey with the man she falls in love with despite the man's faults and eventually finds herself sacrificing herself almost heart and soul in the process. Neal throws herself into the role, being utterly believable throughout as she becomes increasingly conflicted about her role in Rhodes life. Her performance is a fascinating study of what it's like to be the power behind the throne and the price one pays for being so. The film's supporting cast is strong as well. Walter Matthau is particularly memorable as Mel Miller, a writer who finds himself brought in Rhodes orbit from Memphis to New York and ultimately gets to deliver a particularly effective dramatic punch line in the film's closing minutes while also acting as something of a voice of conscience for Neal's Jeffries as well. Anthony Franciosa plays Joey DePalma, an opportunist who becomes Rhodes' agent on his incredible rise to power. Bringing Rhodes into a political orbit is Percy Waram as the multi-millionaire General Haynesworth who puts into Rhodes the idea of gaining political power, drawing in presidential candidate Senator Fuller (played by Marshall Neilan) who are both well suited to their roles. With appearances from Howard Smith and a young Lee Remick plus cameos from Mike Wallace and Walter Winchell, the film's cast is superb.Beyond the cast, the film is a superb piece of work in its own right. The film makes excellent use of locations as well as sets, giving it a strong sense of verisimilitude that's especially evident today. The stark black and white cinematography brings the film's various locations to life from the back roads of Arkansas to New York City and the television studios around the country. All brought together under the direction of Elia Kazan, who brings the film to life with a great sense of both drama and irony that's especially present in the film's closing minutes. The overall result is a film that feels like a portrait of a time and place in American history never to be glimpsed again but that stands as a document for future generations.That being said, A Face In The Crowd isn't that dated at all. If Griffity is the film's heart, then the screenplay by Budd Schulberg is its soul. The film is a classic American story, played out again and again in our history. It's the tale of a man who comes from nothing yet, through his talents and lucky encounters, rises to become not just a celebrity but wield immense power before his ego and inability to keep himself in check leads him to self- destruction. It's a story that we've seen played out again and again in our history and it's something that gives the film even more power. Not only does the film tell that classic story, it also explores issues that we're still dealing with today: celebrity culture, the role of popular media in politics, the question of where entertainment and politics intersect and its effect on American society. Watching Griffith's Rhodes also feels like a nearly six decade old pre-echo of personalities currently dominating in politics and popular discussions of it, something that gives the film a power and message that few films of its age can claim to have.A Face In The Crowd, for all of these reasons, is something of an overlooked classic. Made in the 1950s about the rise of television, its script and the questions it raises are ones we're still coping with today. More than that, it's a finely crafted film featuring an incredible performance from Andy Griffith who is backed by strong performances and a finely crafted film. It's remains watchable and prescient, a film that begs to be seen even now. So see it and see it soon. You may be wondering why you haven't before.

nate hall I'm no longer a young man, yet this is the very first time I've seen or even heard about this movie that was made a few years before I was even born. My interest was kindled by the story of the Director himself, Elia Kazah. The air-heads who infest Hollywood generally know little about economics or history but know enough in their ignorant Utopian filled heads to try to tell the rest of us how things should be run. It is because so many people in Hollywierd despised Elia Kazah I figured I'd probably like him.I was not disappointed. This movie is prophetic. Imagine a slick talking crook from Arkansas. A womanizing liar pushed forward by a manipulative female self-publicist who masters the TV-Government- Business iron triangle. This charismatic country-boy woes millions with his smooth down-home delivery. He makes love to the TV camera and convinces you he loves you more than that rotten spouse you are stuck with at home . Sounds familiar don't it? You don't need to imagine that because you already know a certain disbarred impeached ex-president ! Now you know why this movie stuck pay dirt with me : this movie nailed the truth even before it came true by 50 years!Kazah was brutal and mean, but that was part of the technique he perfected. By getting an actor to feel the way a scene called for he got the camera to record it. He brought out the very best performance an Actor had in him. You've never seen how good Andy Griffith could be until you've seen this movie . Kazah was a true master of his craft and this movie easily is in my top 10 of all time favorites now.Just a few words about the Kazah-Commie controversy. My version of the DVD had a feature on this history. Historic Soviet records now prove Hollywood was infiltrated with Soviet agents. Agents who attacked Kazah and whom he owed nothing but payback. Agents who were working for the most evil country on Earth. Agents who Kazah knew Congress knew. He loved America and he defended it by naming those agents.What angered the Hollywierd crowd most was Kazan's defiance. He was right and he knew he was right. That shined the light back on them and there is nothing that gets a self righteous know-nothing-at-all more angry than to have their cherished beliefs deflated by someone they once liked. Rather than admit THEY were the problem they will blame the person who points it out . Kazah become the scapegoat of choice . That is why I think Kazah is an American hero. It takes a tough man to confront his enemies, it takes a stronger one to confront his friends. Oh, and by the way, did I mention Kazah made GREAT movies? This one is my favorite Kazah flick. So far. I'm still have a few more to see!