Joe Smith, American

Joe Smith, American is a bit more than flag waving film, typical of the times back in 1942. It's quite the sociological treatise of its time and rates quite a bit more than most propaganda film, B film that it was.

Robert Young's character of Joe Smith is your average American who probably got some help from the New Deal and now that America is mobilizing for war has landed himself a nice job in the defense industry. Which makes him of interest to enemy agents as we shall see.

One of the things that really got me was that one of the questions that was asked of him as he's being grilled by security people is his religious views. Young replies that he doesn't go to church regularly, but hastens to assure these people that he does send his kid young Darryl Hickman to Sunday School and he does believe in God. The security people beam their approval at him. The idea that someone who is of atheist or agnostic or even freethinking views is a security risk is something we'd see later on in full force during the McCarthy era.

Anyway he gets cleared to work on installing a new kind of bombsight into the planes and then one night some enemy agents kidnap and force him under torture to tell about the bombsight. When the agents go to kill him they make the bad mistake of not killing him in the hideout, but take him by car to wherever they're planning dispose of him. Young makes a daring escape and the police get involved in a hunt for the perpetrators.

The out and out flag waving is kept to a minimum, but when young Darryl Hickman tells Young about Nathan Hale whom he learned about in school it's clear that the message of the film is that there might come a day when we could be called on to make a sacrifice like Nathan Hale, even your average Joe Smith, American.

The film was released in February of 1942 and must have been rushed into production after Pearl Harbor. Marsha Hunt plays Young's wife and if you look carefully you will spot Ava Gardner in an unbilled non-speaking part.

Young who played the ultimate average man in Father Knows Best a decade later on television is perfectly suited for the role of Joe Smith, American. He could be any one of us.

This film deals with a man called Joe Smith, (Robert Young), who works in a airplane factory and is assigned to working on a new bomb-sight and has knowledge of the blue prints which is top secret. Joe is married to Mary Smith, (Marsha Hunt) and they are a very happy couple until one day Joe is kidnapped by four men who want all the information concerning Joe's knowledge of the bomb-sight plans. Joe is beaten and blind folded and as he is being transported Joe uses all the sounds that he hears while riding in a car to locate just where the kidnappers are taking him. This is a great B film and is very well produced and directed and Robert Young and Marsha Hunt give an outstanding performance.

Interesting movie on a number of levels. As a patriotic retrospective it is good to see how well the "pledge of allegiance" stands up without the "under G*d" inserted by the brave cold warriors of the Eisenhower era and defended with such valiance by the boobs of the new millennium.

Another poster mentioned a strange fascist-like salute to the flag. What they were doing was not saluting the flag. When they stood sideways and raised their right hands, palms forward, fingers flattened and pointing at the flag, they were *presenting* the flag as one would present an honored guest at a banquet. I remember doing that as a child in school.

Refreshingly free of cant and surprisingly low on propaganda, Joe Smith American is one of the best 'B' features you'll ever see--it was so good, in fact, that it opened in 1942 atop the bill at movie theatres in New York City. Robert Young plays the titular character, an all American 'Joe' who won't spill his guts about a secret bomb sight to the bad guys--even after being tortured and threatened with death. The torture sequence is surely one of the most grueling things committed to celluloid from the period, and in addition to being spectacularly shot by Charles Lawton Jr. was masterfully lit by one of MGM's superbly trained and uncredited craftsmen. The cloth binding used to blind and gag Young, coupled with the narrative use of his inner voice, anticipates the bleak and distressing Johnny Got His Gun by thirty years. And while the film is certainly a tribute to American patriotism--witness the fascinating schoolyard rendition of My Country Tis of Thee, complete with an odd fascist style salute to the flag--it pointedly allows Young's character to sleep in on Sundays and miss church!

The movie's timing is interesting. The release date is Feb., 1942 (IMDB), just two months after Pearl Harbor and America's entry into WWII. Clearly, the film's intent is to both inspire audiences and warn of foreign enemies. But the conspirators in the movie aren't identified (with one irrelevant exception). As a result, I'm surmising the screenplay was completed before Pearl Harbor, but war was nevertheless clearly imminent. Had production gone beyond PH, I think the enemy would have been clearly identified. Anyway, it's a rather interesting aspect of the movie's context.

With its flag-waving title, no one expects anything deep or probing. Rather, the plot honors an idealized "average" American, Joe (Young), whose fortitude and ingenuity thwarts an (unidentified) enemy's attempt to steal a revolutionary bomb-sight. The narrative ties Joe's courage to that of the heroic Nathan Hale's famous "… but one life to give for my country." Thus, America can face confidently into the War knowing that average Americans retain the heroic stature of old.

I like the first part showing Joe's work and home life. Surprisingly, events resist descending into treacle, mainly because of actor Young and a refusal to sentimentalize him—(He believes in God, but as a working man he sleeps in rather than going to church). At the same time, Hunt's idealized housewife is dutiful and supportive, the way a wife was expected to be.

The second half, however, drifts into plot contrivance and pedestrian violence. Still, I like the way Joe tries to use happy time recollections to get him through the ordeal. Then too, the flashbacks fill in the earlier period of Joe's blissful courtship and marriage to Mary (note the Biblical first names), rounding out their background with patriotic rituals. (btw, as of 2017, she's still with us at age 100!).

Not much of an analytic nature should be expected from this glimpse into wartime ideals. Nonetheless, the cast remains a winning one, along with smooth direction (except for the closing twist), and realistic locations. All in all, thanks be to TMC for digging up this obscure but revealing artifact.