Elmer Gantry

 SPOILER ALERT! The plot will be discussed.

Elmer Gantry, a 1960 film, winner of the Oscar for Best Picture, was controversial for its time in examining Christian revivalism.  It starts with opening notes that, although granting the importance of freedom of religion, state that right “is not license to abuse the faith of people.” The story argues that unscrupulous persons can exploit this basic freedom. The movie, which has multi-faceted characters, explores how American Christian evangelism sometimes uses the techniques of salesmanship and entertainment to further its aims. 

 The opening credits use the Christian symbol of the cross, but it, as well as the names of those making the movie, are askew, suggesting a warping of Christianity’s message. The story, based on the Sinclair Lewis novel, takes place in the 1920’s. Elmer Gantry (Burt Lancaster in an Oscar winning performance for Best Actor) is drinking in a bar close to Christmas while loudly telling a joke to other inebriated men about infidelity. His hair looks like an exaggerated version of the style worn by famed Evangelist Billy Graham. He eyes a beautiful blonde (wearing the passionate color of red) at the bar, so we already see a man who likes to pursue his less than religious inclinations. The men later refer to his “little black book” of names of his female companions. A man and a woman enter and as they appeal to the Christianity of the patrons for charitable donations they receive a negative response. However, Gantry, a charismatic salesman, gives a rousing speech, as he collects money from the tables for contributions, that extols how Jesus was a warrior who took on the Roman Empire with the power of love. The blonde seems impressed, and that may partly be Gantry's reason for the moving remarks. He flashes that oversized Lancaster smile that reveals many teeth, a combination of warmth and intimidation. He says, “Love is the morning and evening star,” words he repeats during the movie, which shows it is a rehearsed line used to appeal to the sentimental person. He says to her he was talking about “divine” love, not the carnal kind, but his words are just a disguise for his true intentions at this point. She thinks he is a “parson,” but learns from the other men as they leave that Gantry is not a cleric. We know he is not financially successful since he can’t even pay the bill (probably squandering his earnings) and tells the owner he’ll have to extend him some credit. For Gantry, charity begins at someone else’s home. 

 Disillusioned, the woman says that the world is devoid of love. He buys her a drink (so to speak), and the next scene shows the hungover Gantry waking up in his hotel sprawled out in the bed with the woman's shoes on the floor. The two may still be clothed, next to each other on the bed, but it is implied that, using his good looks and charm, he has provided sexual passion as a substitute for love to another in a long line of females. The bellhop, whose “Merry Christmas” generates no tip from the fake Christian advocate, says that Gantry’s mother called him. He talks to her on the phone and lies as he says he just returned from church and prayed for her. The man even cons his own mother. He pretends that he sent her a gift that must have been lost in the mail. He tells her not to cry, as he will not be returning home for Christmas, so we know he has broken promises to her many times. He leaves the sleeping blond and writes, appropriately with red lipstick, “Merry Xmas,” on the mirror, which reflects his superficial caring about others.

 

Gantry hops on a railroad car with other hobos, who, down on their luck, try to take his shoes while he sleeps. He wakes up, and thrashes the desperate men, followed by him throwing his suitcases and himself out of the car. The scene mirrors the hard times of the Great Depression, and Gantry’s first thoughts are for himself. As he walks with his belongings there is a sign in the background promoting a “revival meeting” with the picture of Sister Sharon Falconer (Jean Simmons) and the words that promise “she can save you.” As the film progresses, there is a question as to whether she needs to be saved. Her last name suggests someone who can tame birds of prey, which may refer to sinners. Gantry hears a hymn being sung and enters an African American prayer meeting. They are suspicious of the white man who has entered, but he knows the words to the song and sings them loudly. They join him in the spirit of Christianity, and their innocence contrasts with the dubious devotee among them. He acquires food for shoveling coal at the church. The reverend sees that Gantry has a picture of a scantily clad showgirl, and Gantry covers up his lust by denouncing the lascivious material, tossing the picture into the furnace. He knows the teachings of the Bible and equates the fire with that of God’s wrath. At this point he is that wolf in sheep’s clothing, the threat of danger beneath a pleasing exterior.

 

Gantry uses his high-powered sales pitch in an attempt to get a storekeeper to buy his small appliances. The man is not convinced, having bought some items before that didn’t sell. Gantry sees another poster of Sharon and asks if she is a good preacher. The store owner says he only goes to prayer meetings when times have been hard, which shows how some are only interested in religion for selfish reasons and not out of true devotion. 

The film continues to display Gantry’s character flaws. There is an almost empty bottle of whiskey that sits in front of him as he tries, without success, to revisit a romantic encounter with a married woman, and loses at gambling on a horse race. His disreputable behavior contrasts with the revivalist music played outside his hotel window. Gantry goes to the tent revival meeting that evening. William L. Morgan (Dean Jagger) hosts the event, which is filled with people singing hymns along with a choir. Sharon enters and Gantry is taken by her beauty and the crowd's adoration of her. She is a salesperson in her own right, except she is promoting religion. She is dressed in a milkmaid’s outfit and enters with a pale of the liquid she supposedly obtained from milking a cow. She relates to the rural people by saying she didn’t want to stay in a church, but instead wanted to see what these people saw every day which is God’s handiwork reflected in nature. She does not want to deliver a solemn sermon, but instead wants them to be joyous in their faith, which works as a selling point. She uses humor to tap into the congregation’s generosity as she passes out several buckets to collect donations, saying people can’t make milk and God doesn’t make money. As she speaks, the skeptical journalist, Jim Lefferts (Arthur Kennedy) casts a cynical eye at her. 

 

Sharon’s smiling surface drops for a moment when Gantry tries to get a private audience, and Morgan places the bucket in front of Gantry, who has no money, which implies one has to pay a toll to interact with the supposedly approachable preacher lady. The next scene adds to that distance as she says she doesn’t have time for one of the worshippers and delegates others to carry out ministerial duties. Another attendee demonstrates Sharon’s strong influence when she says after Sharon’s prayer gathering her son saw the Virgin Mary on the roof. Gantry pretends to be a preacher, but Sharon is able to see through his guise when he can’t say which church he belongs to, She quickly deduces that his problem is either booze or women, and he lies by saying he indulges in neither. She leaves him standing there and the sarcastic Lefferts, who also recognizes the ploy, tells him it was a nice try.

 

So, Gantry looks for someone more accessible, and he zeroes in on the woman who sang at the beginning of the prayer meeting, Sister Rachel (Patti Page). He flatters her about her singing and spouts talk about God’s love and its association with music, appealing to her interest. He acts like he only wants apple pie when they go to a restaurant, as he presents a wholesome façade. He lies about being offered an elevated position in the appliance company to impress her. 

 Sharon looks exhausted after literally putting on a happy face, and waves to the crowd at the train station. Gantry hops aboard the train, joins Rachel, who is smitten with him since she says she was concerned he wasn’t going to show. He then continues his devious behavior by pretending to be Lefferts, leaving a message with the conductor that he wants to see Morgan. Gantry continues to get at Sharon through those around her as he talks with Lefferts on the train’s observation platform. Lefferts is modeled after journalist H. L. Mencken (Gene Kelly played another version of the evolutionist devotee in Inherit the Wind, also analyzed in this blog). Gantry asks if he can be frank with Lefferts, who is witty and insightful when he responds, “Try,” knowing full well that Gantry is working an angle. He does admit to Gantry that he will have to get past Morgan to reach Sharon. 

 

By getting Morgan to leave Sharon to see Lefferts, Gantry is able to sit in Morgan’s seat (Lefferts interviews Morgan, who is a believer in Sharon’s inspirational abilities, as he says she is touched by God). Gantry, using what he learned from Rachel about a riot between the evangelists and some “roughnecks” in Missouri, falsely says he was there at the altercation and he is able to quote her fighting words, which were “Bust ‘em one for the Lord, brother,” back to her. The memory makes her laugh and Gantry has broken through her defenses. He says he tried to be a cleric but there was a girl that he became associated with, LuLu Bains (Shirley Jones, who won the Best Supporting Actress Oscar for this role). He says he went to pray and found LuLu half-naked with a lover behind the altar and he gave up on becoming a preacher. But, he says his faith was revived when he saw her at the prayer ceremony (another lie), and he wants to see her socially. She admits she likes his outrageous nature after being around “sanctimonious” people so much, and that he is “amusing” and “smells like a real man.” So, he arouses her physical nature, as opposed to the spiritual one.  

 

At the next tent revival, the police tell Sharon that the number of people in attendance will violate fire safety laws. She counters by arguing that the illegal alcohol interests don’t want her preaching intolerance and support of the current law of Prohibition. Gantry tries to convince Sharon to let him share how religious beliefs are practical for the businessman. He begins by fraudulently saying how he loves his job, was offered a junior partnership, and how many customers know him by his first name. It is the same spiel he used before. But, he can see that Sharon is too smart to buy his sales pitch. He is now truthful when he says the work is terrible, “chasing trains, “staying in “filthy” hotels, telling dirty jokes just to keep customers “laughing,” and bringing booze to ingratiate himself with others. He comments on his phony appearance by calling himself “a tramp in a silk shirt.” He then gets the idea to tell the congregation about his miserable, lonely life and then being saved when he found in a hotel drawer a copy of a Gideon Bible. This story of personal redemption, although insincere, fits in well with Sharon’s religious message.

 The next scene nicely follows up on their conversation as Gantry tells the crowd what he pitched to Sharon. He says that after reading from a psalm in the Bible that God was his “fortress,” he was able to be honest with his clients and sell goods with God backing him for finding faith. (All of this is a fiction, but it sells). He is a natural at evangelical preaching as he tells those assembled that businessmen shouldn’t go to church on Sunday and then “cheat on Monday.” He duplicates his “religion is love” lines, which he told Rachel. There is a look on Rachel’s face which reveals that she probably realizes Gantry repeats stock phrases to win others over. He then courts the anti-elitist sentiment felt in the country’s heartland by saying how he is not a well-educated man but knows enough to see that Jesus saved him from the Devil. Morgan rolls his eyes at Gantry’s over-the-top theatrics, most likely feeling that they cheapen the richness of the sacred mission he is part of. Gantry appears surprisingly overwhelmed as a man admits he is a sinner and runs up to him for guidance. Others follow the man to thank Sharon for bringing Gantry to them, as they buy the desire to be blessed that he has sold them.

 

After the meeting, Gantry talks to a man cleaning up. The janitor says he repeatedly gets “terrible drunk, and then I get good and saved,” by various preachers, including Sharon. He suggests selfish indulgence and finding salvation are both powerful forces. His words can possibly imply that the pull between being unholy and being righteous wrenches people back and forth. His character may also suggest that some people do not have a strong moral center and are easily swayed. (I remember a Cheech and Chong show I attended when one of the duo said he was once stoned on drugs and then he was stoned on Jesus, revealing an addictive personality).

 

Lefferts is on the sidelines, recording what is happening, almost like the writer of this story gathering material for his work. Sharon sees Gantry on the stage and wonders to him if he plans to take over. She is only half-joking, as she most likely is concerned about being upstaged. She is impressed with how many people they added to their total of converts. She informs him that Morgan thinks he is “vulgar,” and she agrees but confesses to liking it. He kisses her in the moment. She seems to enjoy it and quickly becomes alarmed by the intimacy. He apologizes and says she “hypnotized” him. She says God chose her to have that power, and when he says he was also called by God, she puts him in his place by saying that she, not God, chose him. She is now all business, offering Gantry a position in her organization.

 

Lefferts talks with Gantry after Sharon leaves and asks how he acquired his “style.” Gantry seems sincere when he says that when he is in front of the gathering he just lets it “rip,” and he feels a powerful connection between himself and the others. He says in the end he feels as if he loves everybody. The cynical Lefferts says Gantry especially likes the attention of the women. Gantry laughs heartily, since he knows that is a weakness of his. Lefferts likens the tent to a circus and Gantry, not putting up any false front with the journalist, laughs along with him when Lefferts likens him to possibly becoming the most successful and “funniest clown of them all.” So, this type of “old time religion” that Gantry praised can also be thought of as a type of exaggerated entertainment, and the comparison is not complimentary.

 Sharon derides her followers’ expenditure of cash by saying those who play cards and the stock market will not get into heaven, but pledging money to her crusade will. Gantry chews up the religious scenery, bringing a chimp onto the stage to decry the evils of evolution. At one fire and brimstone sermon he stirs up the crowd into a religious frenzy to the point where a man howls like a dog as if expelling Satan. 

 

Morgan tells Sharon all of these shenanigans are in very poor taste, and he says that Lefferts is just using the ridiculous show as material for his column which makes the religious movement appear negatively. He likens the two of them as doing the bad cop-good cop routine, with Gantry scaring them and then Sharon promising them salvation. Sharon thinks that combination makes them a good team since people are confessing their sins and are being saved. The film shows her as wanting to reach worthy ends but with somewhat unsavory means. Morgan did some background checking, and discovered that Gantry was dismissed from a theological seminary for seducing the deacon’s daughter in the church where the father gave a Christmas sermon. This rendition is not the tall tale Gantry told Sharon about his fiancée cheating on him. Before he can provide more information, Gantry enters the area like a performer coming through a theater curtain. He even shouts, “Ta Da!” which sounds like the music played to accompany a performance. Gantry announces that they have been invited to the city named Zenith, which Morgan does not think they should visit. He says that their movement is for common, rural folk, not big city audiences. He calls Gantry a “crude, vulgar showoff.” Gantry counters by saying Morgan is “too good for the people. I am the people.” He is “common” and that is what most of the people are, so he is saying he can connect with the average citizen. But, the movie explores what happens when that connection is exploited and people are manipulated by someone who only appears to be doing good. Sharon says that Christianity started with common people, and wonders what God wants, as opposed to the desires of individual people. Morgan decides to go along with the plan to go to Zenith, a name that means reaching the highest position. Here, the name will carry with it a sense of irony.

 

There is a meeting in Zenith that includes George Babbitt (Edward Andrews), his last name being the title of another Lewis novel. He is a loud businessman, and the topic of discussion here involves church finances. As Rev. Philip Garrison (Hugh Marlowe) and Rev. John Pengilly (John McIntire) grudgingly bemoan the cash shortages, Gantry, now looking slick in a new suit, brings his salesmanship skills to the business aspect of religion. He says they need to get more people to attend church, and Sharon’s (and his) actions have brought pledged converts in increasing numbers, which means more monetary contributions. Sharon is quiet, at first, suggesting quarreling over money matters cheapens the crusade to save people’s souls. She then complains about how monetary concerns drag down the spiritual mission she is on. She basically says that her independent work goes to pay expenses and contribute funds to their churches. She is looking for them to help her by embracing her efforts. Before walking out, she tells the men that they are not really interested in a religious “revival,” and that means she is not the person they want. 

 

There is a debate afterwards as to how to spread their religion. Babbitt likens religion to entertainment, saying bingo and baseball games raise money, so why not use Sharon’s enterprise to bring in the crowds? He warns the men of the cloth there that they will lose their positions if their church boards don’t see increased church attendance. Pengilly says that there were only Christ’s disciples that started Christianity, so numbers don’t measure a religion’s success. Garrison argues that having people howl like dogs and transforming what’s supposed to be devout gatherings into circus events is not what they should be encouraging. He tells Babbitt that religion is not a business. But, he further distances himself from Sharon’s, and thus Gantry’s, tactics, by saying “revivalism is not religion,” implying that theatrical performance should not be a part of Christianity. After he leaves, Babbitt implies they have an opportunity to get people excited about religion with revivalism, since the country is grounded in Christianity. He points out that all the presidents have been religious men and Congress opens sessions with quotes from the Bible. The film here suggests there is a lack of separation between church and state.

 

Babbitt wins the remaining members over, and they will not hold church services on Sundays when Sharon’s traveling tent operation is in Zenith. The implied goal here is to maximize attendance at revival meetings, and thus add donating converts to the evangelical branch of Christianity. Sharon looks relieved and revived herself since probably she hopes raising money to continue her mission will not be so burdensome. 

 

Zenith conducts a welcoming parade with cheering citizens for Sharon and her organization. The depiction is satirical as the event looks like a circus event as there are acrobats and clowns. The spectacle is a mashup of the patriotic and the religious to arouse enthusiasm. There are marching Boy Scouts, and Gantry walks with Babbitt who is dressed in a military uniform. After the pageant, Gantry briefs the staff like a general giving orders to his soldiers, making sure they get written pledge forms in the hands of attendees. Later there is a large staff answering phones which looks like a corporate operation. Sharon appears overwhelmed by her star status, with many reporters firing questions at her as flashing cameras take her picture and asking about what she is going to wear as opposed to spiritual matters. Lefferts arrives and alerts her that again she is having an issue with the fire department about the size of the crowd that will be attending her meeting. It’s as if this problem is an omen about how people create uncontrollable situations which will punish them for their overzealous ambitions. 

 

The night of the meeting attracts all sorts of people, including those that warn of the end of the world, while others hold signs for and against revivalism (“Even Jesus drank wine” is one that urges repeal of Prohibition). College students try to drown out the hymn being sung by chanting the words of the Star-Spangled Banner, which stresses the church/state separation issue. The scene lends itself to confrontation. Babbitt wants to arrest the disrupters, but Gantry quiets him down, not wanting to incite adversity. Morgan tells Gantry that Gantry has succeeded in drawing an angry mob, and he doesn’t want Sharon to confront the rowdy audience. But, Gantry sees it as an opportunity, and gives Sharon a pep talk, basically saying city people are just as emotionally accessible underneath since all people fear “death.” So, the thrust here is that one can reach people through their fears. Gantry keeps repeating that Sharon “can” save them, and his voiced support of her abilities seems to cast a spell that allows him to escort her to the meeting.

 Sharon is quiet as she joins the congregation. She says that many have come to judge her motives, but she says that if she has sinned, then God will judge her. By extension, she also says that she has no right to judge her detractors. She quotes from the Bible that says that Jesus showed generosity toward enemies, winning them over with love. By saying these words, she deflects attacks by people against her and diffuses hostilities. She tells the choir not to sing, and her tranquil urging for prayer transforms what would be a loud revivalist commotion into a quiet contemplative meeting. Her sincerity even gets the atheist Lefferts to bend a knee, although he may be succumbing to peer pressure. After the event, her winning over the crowd just escalates her celebrity as throngs surround her car on the way out and at the hotel where she is staying. Gantry is actually protective of her, telling the reporters and others that Sharon needs quiet and rest. Even Morgan can appreciate his efforts here. Sharon collapses into sleep and Gantry sweetly places a rose next to her and tucks her in for the night. 

 

Lefferts dictates his next newspaper column, saying that Sister Sharon tamed the crowd with “simple prayer,” but he questions how that change in approach in the long run will win over more people than established churches can accomplish. His didactic approach has him asking what defines revivalism: “Is it a church, is it a religion, or is it a circus sideshow complete with freaks, magic and rabble-rousing?” He goes on to explore why a revival attracts so many. He wonders if the appeal is “to see a miracle, to be saved from a lifetime of sin in five minutes,” or to be embraced in “salvation” during a time that seeks physical gratification. The implication is that it contains all of the elements he raises, and offers the possibility of a spiritual uplifting when people seem mired in transient, everyday pursuits. His questioning article points out that there are no qualifications to be a revivalist, and no laws to “protect the public” from those who would exploit religion for personal gain. He argues that those involved in the revivalist movement get the legal benefits of running a tax-free enterprise and collect money “without accounting for how it is used.” 

 The scene shifts to a brothel, where prostitutes read Lefferts’s column, which cynically asks if there will be a decrease in “lust” and “adultery” if one contributes money to the revivalist cause. One of the women humorously says, “I hope not.” LuLu is there hearing about Gantry’s manipulative abilities which Lefferts says can make the innocent feel like sinners, and vice versa. LuLu’s repetition of the same words Gantry uses repeatedly to win over women about God’s love is ironic given this setting. She recounts how he seduced her physically while contradictorily sounding religious. When she says that he “rammed the fear of God” into her, in a church no less, the irony is compounded by the sexual innuendo mixed with holy references. She laughs about how her “bare soul” (another combining of contrasting words) was thrown out into the cold by her father, the reverend. Did these hypocritical actions by Lancaster and her cruel father alienate her from religion and lead her to her present state?

 

There is a popular backlash against Sister Sharon’s movement because of Lefferts’s article. Babbitt confronts Gantry and says that Lefferts revealed that he bankrolled the revivalist group to enhance his real estate business. He withdraws his financial support. The local Zenith churches also receive complaints based on Lefferts’s writings. The power of the press is demonstrated here, as well as how quickly the public can be swayed. Gantry visits Babbitt’s real estate office and has evidence that some of his properties contain an illegal liquor club and a house of prostitution, and there is an illegal card game going on right at that moment in the back of the building. So much for Babbitt’s proclaimed religious adherence. Gantry is there to blackmail the hypocrite to regain his support, so corruption is lurking beneath the righteous exterior of these men. 

 

Sharon goes to the Zenith newspaper publisher Eddington (Dayton Lummis), who carried Lefferts’s syndicated column, to complain about what she considers Lefferts’s unfair writing. Gantry and Babbitt show up there, too. She tells Lefferts, who is in attendance, that he implied that she misused funds, and she has only preached the word of God. Since neither she nor Gantry have any qualifying ordainment credentials, Lefferts asks her how they have the right to preach to anyone. She feels that she must have been chosen by God to do His work. He asks her if she had a “burning bush” moment where God spoke to her, and he is knowledgeable to point out that in the New Testament, God only spoke to Jesus. He then quotes a misogynist passage which instructs that women should be silent in religious matters to show how her own religion can be used to silence her. He is using religious texts to undermine Sharon’s self-justification to spread her manner of Christianity. But, Gantry gets Lefferts to admit that he only sees the Bible as great poetry and wisdom, but not that Jesus, through his divinity, can offer “life everlasting.” By getting Lefferts to admit his atheism, which refutes the basic tenets of Christianity, Gantry can persuade Eddington that Lefferts is not a fair and objective reporter, whose beliefs run counter to most Americans. He says he will refute Lefferts on the radio, with Babbitt extorted into paying for the airtime. 

 

On the ride away from the meeting, Sharon is demonstrably excited by Gantry’s performance in Eddington’s office. She then sends mixed signals, hugging and kissing Gantry. When he stops the car and responds, she pushes him away and says God sent him to her to be an “instrument” not a “lover.” He admits to being baffled by her and says he only wants her, not other women. She says she knows he had sex with Rachel, who he coldly constantly ignores after their physical encounter. She calls him out as a liar when he denies being with Rachel. He says he wants to “tear those holy wings off” and “make a real woman” of her. He says that he can provide her with a heaven of physical “ecstasy.” His words are a contrasting mixture of religious and carnal language, even to the point of suggesting a rape. He says that she wants to consummate their passion, and that all men and women are driven by this drive, and she should admit it to herself.

 

She drives him to a construction site for a tabernacle, and says that is what she really wants, a place where she can do her good work without running around, like a “circus” (even she compares what they have been doing to a sort of carnival act, which is what Lefferts called it). She says she wants a place for worship for all religions with a soup kitchen to help ailing bodies. She calls that “home” her “first love,” in contrast to what Gantry advocates. He admits that her dream is greater than what he can offer, and he is only a hick from nowhere. She confesses that she invented her current persona, and she is really from “shanty town.” But God brought the two of them together so that she can finish her constructing not only the place of worship, but presumably herself. He calmly agrees that it was God that joined them, and she then warms to him, now feeling that he is not trying to undermine her mission. She follows him under the building’s foundations, and the implication is that they have sex, again the lustful activity hidden ironically in a religious place. Gantry here plays the Eve role of tempting the more spiritual partner into indulging in earthly delights.

 As Sharon dreamily pours sand out of her shoes the next day, reminding her of the previous night’s physical pleasure, Gantry is on the radio ranting against Lefferts. He gives him the first name of “Lucifer,” attacking the man instead of his arguments. (Lefferts takes the attacks with smiles and laughs because he seems to know that Gantry is just using him to magnify Gantry’s brand). Gantry offers examples of a morally decaying society in need of a religious revival by holding up sexy French postcards, and stating he was propositioned by diseased prostitutes on Zenith’s main street. He offers no objective evidence of what he holds up as factual, and we know from his behavior that he is a fraud who projects his own failings onto others. He also attacks “foreigners” for bringing sinful ways to Americans, using those who are different as people to be targeted, a stance in opposition to Sharon’s speech echoing Jesus’s advocating the use of love as a way of dealing with enemies. In fact, Gantry gives his speech in a boxing ring, conveying his pugilistic stance. He again taps into that dislike of Ivy League elitism by saying they are his opponents, and thus, by extension, the foes of the rural citizens. As he speaks we also have LuLu listening and laughing, because she knows from personal experience Gantry’s hypocrisy. 

 

At an outdoor rally, which is a place he can use his loud voice to incite and turn a crowd into a frenzied mob, Gantry slams bottles of whiskey onto the ground to denounce booze (showing more of his hypocrisy). He implies the police are not cracking down on those that he declares are committing immoral acts. Gantry, accompanied by law enforcement officials, raid “speakeasies” (for dramatic purposes, Gantry knocks down doors) where alcohol is served, and houses of prostitution. At one of these he discovers Lulu, who laughs at his fakery, and Gantry is momentarily taken aback. He recovers enough to tell the cops to arrest her, probably so he can shut her up. He then thinks better of his action, and persuades Captain Holt (Barry Kelley) to release the hookers, probably deciding not to increase the likelihood that LuLu might expose him. To protect himself further, he secretly tells Holt to make sure the prostitutes will leave town quickly so he can cover his lying tracks.

 

Gantry’s public crusade gains much attention. Flowers, communications from political figures, and people from the city arrive at the revival’s headquarters. Sharon just wants to have a quiet picnic for her and Gantry. She appears to hope for a romantic relationship, but he is wrapped up in expanding her organization’s influence. He charms her and says their personal celebration can wait until after the day’s promotional agenda is over. His position is in jeopardy when Lulu calls, who has not left town, and thanks him for getting her released, implying she knows that he did it as a favor to keep her quiet. After hanging up she says she wants to contact Benny (Peter Brocco), a photographer, which can only mean she is planning some sort of exploitation. 

 She has Benny positioned on the fire escape so he can take pictures of Gantry being seduced. When Gantry shows up she is wearing a sexy negligee. He looks around, and he smartly suspects that the scene is planned for a “shakedown.” She admits that she was angry when he came in the previous evening with the cops to arrest her after he had dumped her long ago. She says she thought of blackmailing him, but when she saw him now, she remembered how much she cared for him. He admits to running out of her. She says her father contacted her and compared her to Jezebel in the Bible. She wonders why people see “hate” in holy scripture. What she says suggests the danger in how some can twist the meaning of words that carry with them divine justification. She refuses some traveling money and asks that he kiss her goodbye. Benny gets a picture of the kiss. But then Lulu shuts out the light and seems to want to abandon the blackmail plan as her desire for him revives. As she sits on the bed, she asks for him to stay a while, and says for him to tell her “lies” that she can “believe.” That comment points to how people believe what they want to believe, regardless of the truth, which they find they can’t accept. But he turns the light back on, showing how he isn’t going to give into his dark, lustful inclinations. She realizes that he will not be intimate with her, and is angry about Sharon winning him over. She then decides to get her revenge by accepting the money he offered, and she sexily stashes it into her garter-securing stockings, revealing a great deal of leg. A definite photo opportunity.

 

Looking like a rich man with a yacht, not a man of God who has forsaken worldly temptations, Gantry enters Sharon’s room wearing a naval outfit. He tells her he will take her on a picnic cruise. Even though his entrance is full of his usual bluster, when she embraces him, he reveals genuine feelings for her. As Sharon goes to get dressed, that joy is short-lived as Morgan arrives with photos of his encounter with Lulu. She wants $25,000 in cash brought to her by Sharon to where she worked as a prostitute before it was raided. Lulu most likely wants to stress Gantry’s duplicity and the damage he can cause to women he seduces. 

 

Despite her humiliation, Sharon agrees to the meeting, probably because she doesn’t want to publicize Gantry’s scandalous activity and have her movement associated with it. She arrives per Lulu’s instructions, and a screeching cat greets her and then pokes around some liquor bottles to stress the unseemly location. (Is the feline there to make a reference to the place having been a “cat” house?). There is a contrast between Sharon’s conservative clothing and Lulu’s sexually enticing outfit, but they have both been seduced by the same man. Sharon drops the money on the table and asks for the negatives of the pictures. Lulu just laughs and kicks the money. She apparently just wanted to delight in a form of revenge by embarrassing the supposedly upright Sharon for being complicit in a cover-up and becoming involved with a fake religious zealot.

 

The compromising pictures show up in the newspaper. Eddington confronts Lefferts about his turning down Lulu’s offer of supplying the pictures to him. Lefferts argues that a free press can refuse to aid a blackmailer by publishing unscrupulous stories. He concluded that the photos were taken secretly to attack an individual, and he says they only revealed that Gantry is “human,” subject to temptations as others. He apparently does not go along with a counterargument that, despite the motivations of the informant, the press must expose hypocrisy to alert the public not to be taken in by con artists. 

 

There is now a dwindled crowd attending one of the tent meetings, and there are hostile members among them. Lulu also shows up, apparently to gloat. One man pulls out a whip and starts to crack it and others yell derogatory remarks as they throw eggs and other food at Sharon, Gantry, Morgan, Rachel and others. Lefferts is there, but he is disgusted by the ugly response of those in attendance, apparently advocating that two wrongs don’t make a right. As the man with the whip tears down Sharon’s revivalist sign, Gantry is plastered with garbage and one woman spits on him. Lulu did not expect the intensity of the negative response and runs out of the tent, presumably feeling guilty. The mob trashes the congregation meeting area. When Sharon and Morgan reach their offices there is the clamor of ringing phones from people shouting hateful messages. Sharon wonders why God has “forsaken” her. She apparently is not sensing any divine mercy for her human indulgences and mistakes. 

 

Lulu returns to her place only to be met by her pimp who beats her up for not getting money for the story and the photos. He asks if she did it because she hates Gantry or loves him that much. The answer is that both are probably true, since Gantry hurt her by abandoning her and then she wanted retaliation by exposing him and stopping him from being with Sharon. Gantry arrives and beats Lulu’s attacker and then knocks him out. Despite her ruining his success with the religious movement and with Sharon, Gantry acts like a true Christian here as he tends to Lulu and says he is sorry for everything, which includes how he wrecked her life. 

 Back at the tent space which is in shambles, and which mirrors the condition of the movement, Lefferts and Gantry share a drink of whiskey, exhibiting no hard feelings toward each other. Gantry probably sees it as one of his many enterprises that just didn't work out. He is even funny how he pretends to demonize drinking booze by saying there ought to be a law against it, since Prohibition just says one can’t sell the intoxicant. Gantry wonders why people became so angry. Lefferts says that people don’t like their Gods to be so human. His observation comments on how “fan” is short for “fanatic,” so hero-worship is a sort of madness to which people capitulate their reason. Gantry admits to truly believing in God and religion, which universally comforts people from all walks of life who are “scared or sick, because they got no money, or have too much money, or before a war, or after a war.” He adds that “praying is the cheapest first-rate medicine I know.” After Gantry praises Sharon, Lefferts says Gantry ought to marry the woman. Gantry feels that it’s too late for that. But, Lefferts shows him a copy of the next edition of the newspaper which has Lulu saying that she framed Gantry, and he is cleared of any moral’s charges. Gantry’s good deed toward Lulu engendered one in return.

 The crowd is back, thirsting to worship their hero and heroine again. But, Gantry has been missing for three days (a Cristian number associated with resurrection), and Sharon is convinced he will return for the night’s proceedings at the finished tabernacle. He does show up behind the venue and suggests they leave the movement, go off and get married, have children and lead a private life. She feels her destiny is a public one to help her followers along the spiritual path. But fate works in mysterious ways. One of the men behind the stage tosses a still lit cigarette into a pile of rags and cans, accidentally starting a fire. Sharon says the Holy Ghost is in the building, but so apparently is the destructive nature of existence. A man, who lost his hearing, begs for Sharon to help him. She prays, places her hands over his ears, and he regains his sense of hearing. The crowd shouts praise, and others with various afflictions head up the center aisle seeking a spiritual cure for physical ailments.

At that moment, the place bursts into flames. Sharon shouts that the tabernacle is a place of the Lord and those who believe in him will be saved. It is ironic that the place she built because of her love for God and which was to be a home for the faithful is destroyed. Gantry and others try to save some of those there, but the gathering is a mob now as the people panic. A man smacks Sharon’s Bible out of her hands most likely because he feels cheated by her words, and she is knocked to the ground. Gantry, pulling a woman out of the water near the pier, sees the tabernacle explode into an inferno, killing Sharon.

 

The next morning, in the rubble again, Lefferts hands Sharon’s bible to Gantry, which can be seen as a token of remembrance of their connection. Outside, people ask if Sister Sharon’s departed soul will forgive them for running out of the burning building. He says there is nothing to forgive since they did the right thing to escape. He starts to sing a hymn and Rachel picks up the tune. Morgan probably sees Sharon’s bible as the baton that Gantry should take to continue the evangelical marathon. But Gantry quotes St. Paul, saying that as an adult he must put off childish ways. He leaves, foregoing the selfish ways of a child clamoring for attention, and maybe his latest actions of charity have changed him from being a selfish man to becoming a true Christian.

 

Did Sharon actually cure the deaf man, or was it a temporary condition that psychosomatically was alleviated through his own healing abilities? Was the fire the result of demonic forces undermining the righteous? If so, why would God allow it to happen? Or was it just an ironic coincidence that the blaze occurred? The film raises all of these questions, and presents a complex world with many possible answers.

The next film is The Last Seduction.

The Last Hurrah

 SPOILER ALERT! The plot will be discussed.

 This movie is the third in the trio of political films I have analyzed. In this John Ford directed film (1958), Frank (meaning straightforward, or is the name partially ironic?) Skeffington (Spencer Tracy) is the mayor of Irish descent in a New England city, and even though not stated, all indications are that it is Boston. He has won four terms as mayor and wants a fifth before retiring. He is a complicated figure who fights for important issues but also engages in some “dirty” politics to maintain power. He is a figure that represents old school politicians that bent the rules but were men of substance, and they are on the brink of being replaced by those packaged to appeal to the blossoming electronic media audience.

 

The story, like The Best Man and Advise and Consent, starts out with rousing patriotic marching music, since politicians always tug at sentimental feelings associated with a nation’s fervor for self-adulation. Skeffington is in a parade as a choir of men sing an electoral jingle, another standard tool to implant the message to vote into the minds of the electorate. There is a montage of the Mayor on television, giving a speech at a dinner, and being a guest at a prize fight, reflecting that those running for office try to ingratiate themselves with the public so as to keep them in mind on election day. 

 
Skeffington descends a staircase in his house and stops at a landing which displays a large portrait of his departed wife. He has flowers in a vase underneath the painting of the younger version of the woman. The area is sort of a shrine, probably so she can remain forever young for him. As he meets his staff he seems to delight in upsetting those opposed to him with the announcement in the newspaper of his running again. He jokingly seems disappointed that there is no picture of him, which he expected since the publisher is an old nemesis of his.

 More of his crew arrives, including “Ditto” Boland (Edward Brophy), who provides comic relief. His nickname shows that he is a “yes” man to the extreme, but a likable one. He is wearing his new hat that resembles the Mayor’s. Skeffington jokes that they will now look so much alike (they don’t) that Ditto may get shot by mistake. Ditto’s absurdly loyal remark, is “I hope so.” Skeffington knows how to use the tools of his trade as he corrects a greeting in a letter to show how to properly flatter a constituent. John Gorman (Pat O’Brien), one of the Mayor’s closest friends, questions that Skeffington is spreading himself thin, going to religious celebrations of several faiths. Skeffington reminds Gorman that he vowed to be available to everyone, which shows the man’s accessibility.

 

They talk about the candidates running against him. One major opponent will skip the race if Skeffington supports him for the Senate. The film is showing that quid quo pro arrangements are standard operating procedure in politics (even though there are laws regulating the types of these arrangements). They dismiss others except for Kevin McCluskey (Charles B. Fitzsimons), who is a bit of an unknown. He has a nice, Catholic family and the man was in the military before becoming a lawyer. The Mayor then is ready to greet individuals who present their problems in hope that Skeffington can solve them. He asks first, before meeting them, if they are registered voters, so that the interaction is productive for both parties. In this scene we see political necessity mixed with a desire to truly help the people. 

 John Carradine’s Amos Force (a name obviously suggesting power) is a local newspaper publisher and managing editor who is against Skeffington. He orders editorial attacks, no pictures of the Mayor, a call for release of tax returns, and an endorsement for McCluskey. Force can’t think of reasons to support the man, he just is against the incumbent. His motive is personal vindictiveness, as opposed to any higher purpose to serve the community. He calls in sports reporter Adam Caulfield (Jeffrey Hunter), who happens to be Skeffington’s nephew, which Force says he did not know when he hired him. But now Caulfield’s column is popular and has earned the newspaper money through syndication. Caulfield has a subversive sense of humor as he says he knew he was adding to the newspaper's profits and that is why he forgets to turn out the light in his office, adding to the electric bill. Force says he wants Skeffington defeated because he has siphoned off money into a bank in Mexico, but Caulfield counters by saying that the last undocumented rumor was the Mayor had funds he stole stashed in Canada. Caulfield says if Force had any real proof, he would have produced it by now (the call for factual evidence of wrongdoing instead of just allegations seems to be a continuing issue in politics up to the present). 

 Caulfield meets with Skeffington, who offers his nephew a cigar, the smoke of choice for old-time politicians in those backrooms where deals are made in secret. Interestingly, Caulfield uses a pipe, symbolic, perhaps, of a professor who wishes to educate as opposed to creating a smoky fog obscuring the truth (the Van Ackerman character in Advise and Consent also used a pipe, but he was a fraud). Caulfield admits that he has little interest in politics, except a feeling of partisanship for his uncle. Skeffington tries to sway Caulfield when he says it’s really politics, not the athletic events his nephew writes about, that is the most popular spectator sport. He offers his nephew a chance to document his campaign from the inside. He calls it a chance to provide a historical recording because he sees the current election techniques of appearing before crowds as becoming extinct (not so, considering the rallies of Donald Trump), and future contests will be media-driven (in this sense, at least, the film is prescient). He tells Caulfield that he will be retiring after the upcoming election, and it will be his “last hurrah,” (as he provides the movie’s title) which combines triumph with the sadness of finality. Caulfield agrees to the offer to be Skeffington’s historian, if it doesn’t interfere with his job. The Mayor informs his nephew that Force once was a member of the Ku Klux Klan. He is funny when he says Force quit the Klan because he had to pay for his own sheets and “little things like that drive a man to tolerance.” Caulfield asks why there is animosity between the Mayor and Force. Skeffington says that his mother worked for the wealthy father of Force as a maid. Poor immigrants were paid next to nothing, and because of poverty, it was an accepted custom to take home some leftover food at the end of the day to feed the servant’s family. But Force’s father was outraged when he learned that the woman left with a few pieces of fruit. He fired Skeffington’s mother in front of the whole staff of servants calling her an ingrate. Skeffington says that the fact that the son of the unemployed woman became the leader of the city infuriates the newspaper publisher, and the Mayor has done what he can to make the life of the son of his mother’s tormentor a little worse. Skeffington’s story points to the struggle of the newly arrived poor people in the country and the sometimes cruel condescension of the established wealthy citizens.

 Caulfield’s wife, Maeve (Dianne Foster) and her father, Roger Sugrue (Willis Bouchey), who is not a fan of Skeffington, watch the Mayor on television, and appear condescending toward him as they question who are the man’s supporters. Caulfield is sarcastic by saying they are gangsters, dope addicts, and sex fiends. Sugrue rants about how the Mayor is a hypocrite as he has a priest and a rabbi on either side of him on the stage. The image could represent a desire to unify, or also a way of ingratiating himself to everyone. In any event, Caulfield escapes the “stuffy” (read snobbish) atmosphere, and goes to the rally. 

 

Frank Skeffington, Jr. (Arthur Walsh) arrives home singing and dancing after a night of partying with a couple of young ladies. He plays loud music after admitting that he missed his dad’s speech. The impression is one of a young man who has no intention of transitioning into a responsible adult. Junior may be reaping the social rewards of his father’s success, but the two are not close, as they have nothing in common to talk about. It’s possible that Skeffington’s immersion in his political career has left little time to be a father.

 Skeffington meets with his staff as they review the exhausting schedule of public events he will attend. He shows he is shrewd enough not to draw the winning ticket at a lottery because if an Irishman wins he’ll be accused by the Jewish constituents of rigging the outcome in favor of a person of the same background. It’s like a chess game where he must look several moves down the line to make sure he doesn’t offend anyone. The Mayor talks on the phone with Caulfield just when Force brings his candidate, McCluskey, around at the newspaper office. Skeffington gets in an insult against his old family enemy when he has his nephew tell McCluskey that he wishes him good luck because he’ll need it with Force supporting him.

 

Caulfield has a conversation with Jack Mangan (Frank Albertson) who tells Caulfield he shouldn’t jeopardize his marriage by endorsing his outdated political uncle. During their talk, Caulfield is no longer smoking his pipe but instead lights up a cigarette, which implies he is moving toward the shady world of politics. Managan suggests that his uncle manipulates others to get them on his side. Caulfield has to make a choice about whether or not he accepts his uncle despite the Mayor’s sometimes questionable tactics.

 

Skeffington takes a walk with Caulfield to a poor part of town and says that he, his nephew’s uppity father-in-law, and Cardinal Martin Burke (Donald Crisp) were born right near each other. He says they then went their separate ways, indicating that despite the closeness of geography, each individual may wind up traveling very different paths. As gentle harp music plays, indicating Skeffington’s softer side, he shows his nephew a heart he carved in wood with his name and that of his future wife when he was six years old. The Mayor has a romantic heart alongside his tough mind. 

 

Skeffington then brings Caulfield to the home where a wake is about to take place. The Mayor, having to pay his respects outwardly as a public official, obviously was not an admirer of the deceased. He whacks at the coffin, saying it was strong enough to withstand an atomic blast, suggesting the dead man, Knocko Minihan, spared no expense when it came to himself. Caulfield has a talk with a mourner, Delia Boylan (Jane Darwell) who has known his uncle for quite a while. Delia says the man in the expensive casket was “mean as a panther,” which explains the Mayor’s reaction. According to the Mayor, Delia shows up as much as the corpses do for funerals. He humorously adds, “It’s nice to have a hobby.” He is a witty man, and knows his constituency since he tells his men to get rid of the liquor they brought for the wake since the widow never serves booze in her house. Skeffington talks privately with the widow, Gert Minihan (Anna Lee), who insists that her husband was “a good man,” her loyalty revealing a woman in denial about the quality of her husband. The Mayor points out that he left her impoverished. So it does not look like pity, he says his wife left Gert a thousand dollars on her deathbed to be given to Gert when the woman needed it. Gert says that his wife, Kate, had no such funds. But Skeffington is willing to lie for the greater good here, and Gert is willing to believe his generous falsehood.

 

A number of the policemen show up at the wake, also keeping up appearances, lying when they say the passing of Knocko is a great loss. The place becomes packed, and most of those arriving are there to ingratiate themselves to the Mayor. But, the widow is buoyed by their appearance, and the charade is for a kind purpose. It is noteworthy that cigars are passed around, even forced on one man who doesn't smoke, which symbolizes, again, the membership in Skeffington’s political circle. Ditto holds a box of cigars as he talks with Caulfield, who stands out as he has returned to his pipe, signaling an attempt at objectivity. When Ditto says that Knocko was a fine man, Caulfield punctures the bubble of falsehood by saying he heard the man was not liked. When he tells him that his uncle said so, Ditto immediately changes his tune, saying then that must be the case. Allegiance here is not totally rooted in honesty. 

Caulfield is upset about the hypocrisy of the gathering as it has turned into a political rally more than a wake. He walks out but Gorman follows him and admits that the people came because of allegiance to the Mayor. But, he argues, that Skeffington can go anywhere to generate a crowd and talk about the election. Gorman says that the Mayor brought the crowd in to make the widow feel better, and talking about politics is better than dwelling on death. He convinces Caulfield that the gathering is not just an opportunity to gain votes. 

 The Mayor welcomes Monsignor Killian (Ken Curtis) and asks about the Cardinal, who it turns out has not seen eye to eye (sorry for the reference to Barry Fitzgerald, another cleric, in Going My Way) with Skeffington in the past. The Mayor thanks Killian for showing up, as if it was a favor to him. But Killian says he has already been to the Minihan home to comfort the widow since he says he is Gert’s friend. Killian is deflating Skeffington's over-sized ego here, showing how not everyone’s actions are tied to the Mayor’s will. Skeffington realizes he has been knocked down a bit in his high estimation of himself. 

 The funeral is quite extravagant and apparently the cost has not been discussed with the widow. The funeral director, Johnny Degnan (Bob Sweeney), says he wants his undertakings to be a final “homage” to the departed. Skeffington says that he should charge a mere thirty-five dollars for the proceedings, or else something negative might be mentioned to a licensing board. Here the Mayor is extorting someone for a charitable reason. But, what if he was using his office for dishonorable reasons? There seems to be no legal check as to whether a politician uses his power for beneficial or disreputable reasons, and the film implies that the system of government seems to rely on the decency of the individual in charge. 

 

A loan for a housing development has been held up and the man responsible for the delay is Norman Cass (Basil Rathbone). He is dining at an exclusive club with other bankers. In an act of defiance against the rich elite, Skeffington and his group storm the upper-class establishment, with police guarding the doors so nobody can escape. The Mayor makes fun of the décor which has a strong Puritan theme going. The Mayor barges in on the meal and encounters Cass, Force, and other financiers. Skeffington argues that they are allowing poor kids to get hit by cars because they have no place to play, and people are getting sick in unhealthy slum dwellings. He argues that the only reason they will not finance the housing development is because these rich people no longer have control of the government because the average people, led by the Mayor, have taken control of the city. He says there will be new housing and he will lead the St. Patrick’s Day Parade to celebrate it. So, the theme of class struggle is again at the center of the story, and with it, the animosity of “Yankee bluebloods” toward Irish immigrants. Bishop Gardner (Basil Ruysdael) reminds Skeffington that there has been an intermingling of the old established culture and the new one involving immigrants over time, with intermarriage between the classes and offspring resulting from those unions. The Bishop says he even voted for Skeffington, so the man of the cloth exhibits insight as to the development of a pluralistic American society over time.

 

In an amusing scene, Skeffington meets with Norman Cass, Jr. (O. Z. Whitehead) who uses his father's status and money to be a yachtsman, and is similar to the Mayor’s son, both young men acting like self-indulgent children, resisting maturity. The movie unfortunately makes fun of Norman’s lisp to stress his arrested development. The Mayor humorously uses flattery to win over Norman and offers him the position of Fire Department Commissioner. The job will allow Norman to dress up like it’s Halloween with a helmet and white outfit so he can go to fires where he will be the “center of attention,” which is what most children crave. 

 

The Mayor meets with Cass Sr., and shows a picture of his son looking ridiculous in his children’s version of a fireman’s outfit and threatens to allow Norman to make a fool out of himself if the loan is not granted. Skeffington doesn't want to hear any outrage from Cass, saying the banker hasn’t acted reputably in his job. Cass caves, allowing the loan, in exchange for dropping his son’s appointment. Again, the Mayor is using his office to employ questionable means to reach praiseworthy ends. But as a parting shot, Cass calls Force and says he will financially back McCluskey in the mayoralty race. The implication is that hostile acts beget reciprocal behavior.

 

Caulfield sees numerous signs urging people to vote for McCluskey for an honest government. But, the man is just a puppet of rich and powerful forces. The next scene which shows the use of television to further the man’s candidacy is a satirical take on an unqualified candidate running for office. McCluskey has pictures which show his service in the U. S. Navy along with a large picture of Cardinal Burke which makes it look like he has a high-ranking Catholic official on his side in this very Catholic city. (Burke at first doesn’t like being exploited for political reasons, but he has been one of Skeffington’s foes, he being another man of power not liking the growing strength of someone representing the lower classes). McCluskey also has a dog with him which is meant to draw the animal-lovers to his side, but the canine’s barking upstages the candidate. Mrs. McCluskey (Helen Westcott), in a fancy dress, stressing the staged appearance of the scene, enters with a silver platter, which includes milk, the drink of a wholesome man. She is noted to be the “dutiful wife,” which shows the sexism of the times. She accidentally bends over with her butt to the camera, and someone working for McCluskey says that’s a “posterior for prosperity.” She seems nervous and has trouble answering simple questions, her eyes darting around as if looking for answers. She then squints at cue cards and reads from them haltingly, appearing unnatural in a supposedly natural setting. The children enter dressed up as if they are going to a party, which adds to the staged presentation. 

 Cass and Force attempt to get the Bishop’s endorsement of McCluskey’s candidacy. The cleric declines, and states he’s not sure that Skeffington is worse, saying, “I’d prefer an engaging rogue to a complete fool” for mayor. The Bishop, however, says he will vote for neither, not wishing to “play” the political game that apparently seems sleazy to a man of God. Afterwards, Force blames Cass for not applying pressure on the Bishop, but Cass fires back, alluding to Force’s KKK background, by asking if Force wants to burn a cross on the man’s lawn.

 

Caulfield brings his uncle to his home and surprises his wife, Maeve, who, as we saw, like her father, is not a fan of the Mayor. But Skeffington uses his charm to say how beautiful the woman is, just like her mother and grandmother. He may actually believe his compliments, but his use of flattery to win people over comes naturally to him. At dinner, Maeve says her father argues that the Mayor tries to satisfy everybody with promises. Skeffington gives a little lesson in politics. He says first you find out what the people want, but more importantly, what they will accept. If people want opposite things, there must be compromise (a lost art some might say in today’s politics). He gives an example of placating the Italian and Irish electorate who want a statue erected to commemorate a cultural hero, but there are conflicting suggestions. His choice is different from the names offered, but he has picked a female Catholic saint of Italian heritage, which would be hard for any side to contest. 

 

Election day shows democracy at work, but there is humor in the film here, too. The manipulated funeral director Degnan is in line and has a sour look on his face as the woman behind him praises Skeffington. McCluskey and his family leave their house to go to the polling place as their interrupting dog gets taken away, while Mrs. McCluskey says they are glad to see the animal leave. The stress here is that the supposedly honest McCluskey was just using the pooch for the sake of appearance. Caulfield sends a basket of fruit to Force with the message that it is in memory of his grandmother (the one that Force’s dad fired) and he would know what to do with the gift. Force looks puzzled as he holds a pineapple, but we know that the message implies that he should “shove it.” At the Mayor’s campaign headquarters, Ditto tells Caulfield that the men in white there are The Marching Chowder and Total Abstinence Society (politicians look for support wherever they can get it).

 

Arriving home, Skeffington meets his neglected and spoiled son, heading out with golf clubs to his convertible car. He says he forgot to even register to vote, but laughs it off, saying his father doesn’t need his help to win. There is a sad look on Skeffington’s face which reflects his disappointment that he has been able to win over strangers but not his own son. 

 As the election returns come in, the early positive numbers start to turn negative when one ward disappoints in its total. Skeffington uses humor to paint a happy face on the situation, but, again, the appearance is deceiving. The voter canvassing shows that Skeffington will lose, and one of the Mayor’s men is incredulous, saying they ran a “classic” campaign. But, the story is pointing to how the old ways of doing things don’t work anymore. It is ironic that Skeffington was once the force of change, and now he is an impediment to it. While some of the campaign leaders yell, placing blame on each other, Skeffington is the calm at the center of the storm. He can even make a joke about how they should drink some of the stale coffee because it will cool them down. 

 

There is denial about the election results, which sounds all too familiar to us. One man says, basically, that they were robbed. Skeffington’s playboy son brings his beautiful date to the headquarters and says optimistically that only a third of the vote is in. He notes he voted for his father, forgetting what he told him earlier about not registering. Ditto acts as if there will still be a victory parade until he goes through the stages of grief quickly, moving through anger to stunned acceptance. The crowd, what’s left of it, at the headquarters is solemn now, as many don’t like hanging around on a sinking ship. Skeffington seems to accept the inevitable, and meets TV reporters. He congratulates McCluskey and thanks those who supported and voted for him. When asked about his future, Skeffington has a surprise card to play in his back pocket that he decides to pull out. He says he intends to run for governor of the state, and expects to win. Cass and Force are watching the TV and have their moment of triumph quickly turn into one of exasperation. One feels as if Skeffington had this ace up his sleeve all the time if the contest didn’t go his way. But at this moment is he unwilling to accept that his time is over?

 After dropping off his nephew, Skeffington decides to walk home. Ford gives us a great image as he strolls alone one way as a boisterous crowd celebrating their candidate’s victory marches in the opposite direction. It is a shot of the parade passing by, leaving behind the old warrior hero alone as allegiances change. For the first time in the film, Skeffington is by himself, and there is quiet. At his home, he looks at his wife’s portrait and as he ascends the steps to her he falters, bending over in pain, as if what has allowed him to thrive has been drained from him.

 

The next scene is with Skeffington’s doctor (William Forrest) who reveals to Caulfield (who in a way has become the son Skeffington would have preferred) Gorman and others that Skeffington had a heart attack, and the Mayor hid the fact that it was not the man’s first. Again, we have the discrepancy between the public, rosy surface versus the harsh truth that resides beneath. The doctor says that Skeffington has a strong will to live. He shows his strong independence when he tells the nurse to leave him alone. 

 

Junior has no insight into the seriousness of his father’s health and continues to smile and act inappropriately bouncy, suggesting that Caulfield and his wife join him and his father on a fun cruise to give his dad a break from politics. It’s possible Skeffington, with his wife gone and he absorbed in his career, didn’t take the time to guide his son into adulthood.  

 

Skeffington retains his sense of humor when the doctor says he should take care of the city and the doctor will look after his health. The Mayor says darkly that it will be “short term employment” for the both of them. Despite his doctor's strong objections, he wants to see his friends while he still has the time. Crowds of people show up at his residence bringing flowers which show that despite the election results they will stick by the man in illness. Even Festus Garvey (Frank McHugh) and Charles Hennessey (Wallace Ford), despite being at odds with the Mayor, want to support the ailing Skeffington, which shows respect despite disagreement. They visit Skeffington along with the Mayor’s closest allies, and the man, despite being bedridden, and knowing he has little time left, acts as if they should start planning the run for governor. He most likely wants to act like he will go out fighting and leave his companions with a positive memory of him still ready to wage a political battle. But, Gorman knows the sad truth, and says elegiacally that the Mayor has done “grand things.” But Skeffington adds, “among other things,” acknowledging some of his dubious behavior.  

 

Even though the scene is sentimental, with Caulfield breaking down in tears, Skeffington does not indulge himself in self-pity. When Gorman says it isn’t a final goodbye, Skeffington suggests, “it’s a reasonable facsimile.” When Caulfield says that Junior stepped out, the Mayor comments satirically that his son always had “a great sense of timing.” Killian arrives with Cardinal Burke, who says he felt compelled to tell Skeffington why he opposed him for so long. The Mayor continues to show his wit when he says he asked for the priest to come “to hear my confession, not yours.” The Cardinal gives as good as he gets after saying he came on a matter of conscience. When the Mayor asks, “yours or mine?” his Eminence says he is glad to know Skeffington admits to having one. Because Skeffington requires no explanation for Burke’s opposition, the Cardinal says the Mayor has eased his conscience, and leaves, but not before making the sign of the cross, honoring his political foe with a blessing. 

 

Sugrue arrives with his daughter, and although Maeve offers concern when she sees her husband, her father is still repulsed by her being there. He is horrified to see the Cardinal coming down the stairs and expresses his astonishment to Burke. The Cardinal says that Skeffington “is dying,” in a sort of reminder to Sugrue of his Christian duty to “love your enemies.” Junior returns and Burke offers his sympathies to the young man. Finally, Frank Jr. seems to be waking up to the reality of the sadness in the world. He runs to his father’s bed and loudly cries. Skeffington is generous and tells his boy that it’s okay, in a sense absolving him of his shortcomings. Caulfield, Maeve and Sugrue enter the bedroom, and Sugrue says contemptuously that if he had to do it over again, Skeffington would have done things differently. But, the Mayor hasn’t passed on yet, and says defiantly, “The hell I would!” Despite his admitted shortcomings, the man earlier said he has, “no regrets.”

 

Earlier, Cardinal Burke wondered if McCluskey is the best they can come up with to defeat Skeffington. Monsignor Killian says that quality Catholics are no longer choosing politics to rise out of the slums, as Skeffington did. His pessimistic view of the declining number of worthy candidates reflects the film’s alarmist take on the increasingly sad state of government. Skeffington's “last hurrah” can be seen as the movie’s nostalgic yearning for worthwhile people in office. In that sense, the wake that Skeffington arranged could symbolize the passing of a more admirable political time.

The next film is Elmer Gantry.