The film Mr. Dietz Goes into Town (1936) is an American DVD cover
Adam Sandler's Mr. Dietz/Hillbrush into Town. Deeds (2002) is a remake of the 1936 classic comedy film Mr. Deez goes into town with the 1936 film by director Frank Capra (1897-1991). Deeds Goes to Town (1936), and Gary Cooper (1901-1961) did not expect that decades later, the $40 billion successor would be a silly "wedding singer" and part-time "Tea Boy".
Image of Adam Sandler in the remake of the film Mr. Dietz (2002).
Then again, As a commercial film, Mr. Dietz is brilliant, and while he hasn't surpassed the original 1936 film, it continues the modern New York love film philosophy, and his outstanding contribution to entertaining audiences and bringing joy and laughter to the masses can only be acknowledged.
From left: Image from Adam Sandler, Winona Ryder, Scott Thompson Thompson Baker in the remake of the film Mr. Dietz (2002).
Frank Capra is arguably one of the most famous "utopian" activists in Hollywood film history.
This "Mr. Dietz Goes to Town" and two other films after it, Mr. Smith to Washington/Long Live Democracy. Smith Goes to Washington (1939) and Meet John Doe (1941) have been summed up as trilogies by some critics.
Frank Capra won Best Director at the 9th Academy Awards in 1937 for his film Mr. Dietz Goes Into Town (1936).
Mr. Deez Goes into Town won Frank Capra a second Academy Award for Best Director, and the big director won the award three times, the other two times for It Happened One Night (1934) and You Can't Take It with You (1938), arguably a favorite in Oscar history.
Clark Gable and Claude Caldette Colbert are the most classic images in the film One Night (1934).
Perhaps many people think that Frank Capra's success is too lucky, and his achievements and status are somewhat exaggerated. The too good and ideal story endings often appear in his works have made many people criticize Frank Capra for being unrealistic and a "fake big empty" utopian.
Admittedly, Frank Capra's films are a little too idealistic, such as "Mr. Dietz Goes to Town", and several of his other classic works, "Mr. Smith to Washington", "Floating Dreams" and so on, have also fallen into this trap to varying degrees.
Stills from the film "Floating Dreams" (1938), James Stewart and Gene Arthur
But watching a movie itself is a matter of opinion, and everyone's knowledge and understanding of the movie and the perception obtained from the movie are different.
As part of the wave of Italian immigrants at that time, Frank Capra was already full of positive character, and the inspirational work of his works more fully reflected his personality.
Images of James Stewart in the film Mr. Smith to Washington (1939).
Frank Capra made three of the 2006 Film Institute's 2006 Top 100 Inspirational Films in the United States, with "Mr. Dietz In Town" at No. 83, while his other two classics, "How Nice to Live/A Wonderful Life" (1946) and "Mr. Smith to Washington," ranked first and fifth.
Frank Capra is a natural optimist, and his films are always imbued with a warm and warm sense of joy; his films make people believe that as long as the heart is full of sunshine, the eyes will not see the darkness.
Promotional photo for the film Mr. Dietz Into Town (1936), by Jaly Cooper and Gene Arthur
"Mr. Dietz Goes to Town" combines a relaxed plot and deeply analyzes the mentality of people in the face of huge wealth, and promotes a value of looking down on money and pursuing true feelings.
The story begins with an unexpectedly large fortune.
The protagonist, Longfellow Diez (played by Jaly Cooper), is a young man living in an ordinary American town, he is kind, frank and sincere, simple and simple, and has been living a quiet and peaceful life in the town.
Image of Jaly Cooper in the film Monsieur Dietz Goes into Town (1936).
However, the accidental inheritance of a huge amount of property breaks the order of Dietz's life.
When Dietz was told to inherit a two-thousand-dollar fortune, he reacted calmly to the "cute" and just continued to tune and wait for two weeks for the woofer to blow.
For Dietz, wealth is not what he wants to live simply; in his eyes, two million dollars may be just a small number, but to what extent it is, there may be no concept at all.
So Dietz's "cute" reaction was incredulous to several agents coming from New York.
But compared with the series of actions after Diz, this can only be regarded as a "small witch to see a big witch".
The town's emergence from a rich man who is one of the few in the country has undoubtedly become the glory of this town.
At the ceremony to bid farewell to Diez, he was treated with a heroic courtesy.
Images from the film Monsieur Dietz Goes into Town (1936).
At this time, several agents could not find the figure of this "hero". As the bass speaker of the small town band, our lovely hero still dutifully plays his instruments in the band.
At this time, the music played in the film is the famous American ballad "Little Bear Over the Mountain".
On the train to New York, when Dietz was asked how he felt at this time, his answer was that he was worried that after he left, no one would take the place of the band's bass speaker.
The setting of this answer can be called typical Frank Capra's humor, which not only stunned several agents, but also made the audience laugh.
Although the wealth that fell from the sky broke Diz's original peaceful life, it could not break the indifference in his heart.
After coming to New York, the simplicity of the small-town people in Diez seems to be incompatible with this big city of gold worship.
Diz did not let the servant bend over to wear shoes for him, exchanged poetry with the local literati in a sincere and kind manner, and even heroically joined the firefighting team... He just wanted to continue to be the "Mr. Dietz" in the town.
However, his range of words and deeds has made New Yorkers feel incredible, even eccentric and stupid.
After exaggerated media reports, Dietz's story is even more stormy.
Images of Jally Cooper and Raymond Walburn in the film Monsieur Diez Goes into Town (1936).
After living in New York for some time, Dietz regrets to find that all he has been subjected to is inexplicable ridicule and ridicule.
Eventually, disheartened by the extreme discomfort of urban life, Diz decides to leave New York and return to that secluded town.
However, this seems to be exactly what the agents in charge of wealth inheritance want to see, and this greedy group of greedy people is deliberately trying to take twenty million dollars out of Diz's hands.
At this time, the appearance of a desperate and desperate peasant once again brought great changes to his life.
For Dietz, who sees money as a floating cloud, distributing two million dollars to poor people who need a lot of money is not a difficult decision.
And those mercenary acceptance people, in the face of the two huge amounts of money that are about to be dispersed, naturally will not give up.
Stills from the film Mr. Dietz Into Town (1936), by Jaly Cooper and Gene Arthur
The so-called "unkind people get rich by their bodies", they will do everything they can to prevent Dietz's behavior. So they took Dietz to court on the grounds of insanity.
The last 20 minutes of the film are courtroom scenes to determine whether Dietz is in good spirits. This is an alternative classic in the history of Hollywood cinema, courtroom drama.
Stills from the film Mr. Dietz Goes Into Town (1936).
Instead of the typical courtroom drama, the step-by-step sentencing process, a unique Frank Capra-style light comedy is presented to the audience.
The word pixilated, which appeared in court, was originally only used in New England, and the wonderful use of this word in this film made the word a fashion word in 1936 with the screening of the film.
In this film, Dietz suddenly inherited a huge fortune, and after coming to New York, it must have attracted a lot of attention, among which the news and newspaper industry is naturally indispensable.
The beautiful, shrewd and capable journalist Barbie (Played by Jean Arthur) enters New York from The moment Diz enters New York, she keenly smells the infinite topics behind it that can bring considerable benefits to the press.
Images of Jalie Cooper and Gene Arthur in the film Monsieur Deez Goes into Town (1936).
So she cleverly entered Dietz's life, easily won his trust, took the opportunity to write many articles about him, and for a time, Dietz's troubles were hyped up.
In the face of this beauty plan, the kind and simple Diz naturally will not recognize it.
He even regarded Barbie as his only friend in the city, pushing his heart, talking about everything, and gradually secretly developing feelings.
Diez first confessed to Barbie that he was 28 years old and had not yet married, because he had never met a perfect girl in the town, and what he was looking forward to was a "match made in heaven" marriage.
But it was then that he learned that Barbie was the journalist who wrote a series of stories about him.
This was undoubtedly the most painful blow to Dietz, the love he had been dreaming of turned out to be a hoax, the only dream in the city that made him nostalgic was completely disillusioned, and the harsh reality made him despair, and he decided to leave New York and return to the town.
Dietz did not become a slave to money and eventually won the favor. Such a perfect ending, although a little too idealistic, but the premise of its realization is that Dietz has always maintained his simple and kind, sincere and beautiful nature, and has been practicing his creed of "returning to nature".
This moral metaphor of "good people have good rewards" has been conveyed to the audience by Frank Capra many times in the film through positive inspirational, warm and warm endings.
The happy ending of "Mr. Dietz Goes to Town" naturally does not seem timeless and profound enough. However, as a romantic comedy, this film has been released for more than 80 years, and it has always exuded an enduring and enduring charm.
Frank Capra is also an uncompromising master of comedy, and his work, from the plot setting to the character action, expressions and dialogue, exudes a faint hint of light comedy everywhere.
The film One Night (1934), from left: Claudet Colbeth, Mayo Meadow Mayo Methot (Humphrey Bopgart's ex-wife), Clark Gable, Frank Capra
In Hollywood in the 1940s, "neuro-comedy" was widely popular as a kind of character quirk, madness, and singularity, mostly for the film style of telling the love story of young men and women.
Frank Capra, along with contemporaries Ernst Lubitsch (1892–1947) and Howard Hawks (1896–1977), are some of the exponential figures of neurorecordism.
Strictly speaking, this "Mr. Dietz Goes to Town" should not be considered a neuro-comedy, but this work, which was born in the year when neuro-comedy was very popular, somewhat infiltrated the style of neuro-comedy.
Stills from the film Mr. Dietz Into Town (1936), from left: Margaret McWade, Margaret Seddon and Jaly Cooper
From left: Images from Raymond Warburn, Margaret Seiden, and Margaret McWed's film Mr. Dietz Goes into Town (1936).
The most obvious one is the scene of the two big aunts who came from the town to testify in court, the two old women are simple and simple, funny and cute, so that the solemn and solemn trial scene instantly becomes an ocean of laughter.
"No one can define neuro-comedy the way Gene Arthur (1900-1991) is, and she's part of the genre." Film critic James Harvey said of the 1930s and 1940s "comedy sisters."
Signed photo of Gene Arthur's propaganda
The low, hoarse female voice is undoubtedly a nightmare for normal sound films, but if it is a comedy, it is a hole in the world, and It was With that voice that Gene Arthur first attracted studio ism.
In Frank Capra's famous inspirational comedies, she played more professional women, seemingly lacking roots but actually monkey spirits, making male and female audiences laugh and pay money.
Promotional photo for the film The Plainsman (1936), jaly Cooper and Gene Arthur
But her voice doesn't have an advantage at all times. Joan Fontaine's autobiography (1917-2013) says that Gene Arthur once told her that once she was sitting in the theater watching a film of herself, and the woman sitting behind her was restless.
Finally, he stood up and announced loudly to the rest of the audience, "I can't stand The voice of Gene Arthur." ”
Later, Gene Arthur slipped out, telling Joan Fonden that it was the last time she would sit in the audience and watch her film. Her voice was also an obstacle to her film journey at some point, and she was even kicked out of the competition for the lead actress in Gone with the Wind (1939).
Later, Gene Arthur seemed to see through this Hollywood Vanity Fair, and she had a higher pursuit of herself - leaving Hollywood to teach.
The success of the film is largely due to the wonderful interpretation of Jaly Cooper. From "Sergeant York" (1941) to "High Noon" (1952), which won two Oscars, whether it was a "Western" or a "grotesque comedy", Jelli Cooper's performance was untraceable, while grasping the essence of the character's character from the inside out.
It is said that Frank Capra always considered Jalee Cooper to be the most suitable candidate for Dietz during the casting process of the film. So the producers tried everything to contact Jallie Cooper, even if the shooting was delayed for six months, and the loss of $100,000 was also spared.
And practice has proven that Frank Capra's somewhat paranoid insistence is completely correct. Jaly Cooper lived up to Capra's expectations, and this wonderful performance of Dietz also made It the first time that Jelli Cooper was nominated for an Oscar.
And the dashing and merciless Jallie Cooper: I like to play racing, I like to play with girls. He is the "chief lover of Paramount Pictures", and the number of actresses he has been involved with is very large.
In 1942, Jalie Cooper and Joan Fontaine won the 14th Academy Awards for Best Actor and Actress for Sergeant York (1941) and Suspicion (1941).
Jaly Cooper and Ingrid Bergman
Jaly Cooper and Clark Gable
From left: Clark Gable, Van Heflin, Jaly Cooper, James Stewart
James Stewart (1908-1997), who worked with Frank Capra countless times, said of Jaly Cooper in an envious tone: "Jallie Cooper and I are the best friends, and he has had a great influence on me in life." We went skiing with Ingrid Bergman (1915-1982), went to concerts by Frank Sinatra (1915-1998), painted with Picasso, took Audrey Hepburn (1929-1993) to parties... In the world of Hollywood, Jaly Cooper has a lot of fun. ”
Poster for the American version of the film Mr. Dietz Into Town (1936).
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