The Power and the Glory

This movie, apart from its innovative narrative style and a few great scenes, is rather disappointing. It tells the story of a millionaire, Tom Garner, by inter-cutting between two series of flashbacks, one telling the story of him as a young man -- his rise; the other of him as an old man -- his fall. The inter-cutting, though innovative, doesn't serve much purpose, and seems haphazard. Moreover, it concentrates too much on him as an older man, on the lurid melodramatic tale of how he and his wife meet similar ends through suicide brought on by the adultery of their respective spouses. Hardly as much time is spent fleshing out the character of Tom himself. No scenes are given to the development of the adult friendship between Tom and Henry, Tom's best friend who also serves as narrator of the film. This makes a scene where Henry argues with his wife that Tom was a good man seem pretty hollow; it's hard to take a stand, since so little insight is given into what made Tom truly tick. If this film served as an inspiration to "Citizen Kane," at least those behind Kane remedied the main flaw of "The Power and the Glory," by fully realizing and exploring its main character. 6/10

A precursor to "Citizen Kane" in its analysis of the life of a just deceased tycoon, here reviewed by his faithful secretary in a series of interlocking flashbacks. In Spencer Tracy's 15th film he already looks middle-aged even in the scenes where he is meant to be young!

A little silent-screen type emoting is understandable given the vintage but this is a most enjoyable, well-written drama.

Spencer Tracy plays a self-made industrialist who worked like a dog to become a major railroad baron. Somewhere along the way, though, he lost track of what motivated him to do this in the first place and by the end of the film he realized, too late, that his work was in vain.

The review by jdeamara seemed right on when it said that this movie suffered because the way of presenting the movie by bouncing back and forth to tell the story seemed haphazard and that the characters needed to be further developed. Spencer Tracy is a complex character but instead of showing him in a comprehensible manner, the story bounces around so much that you never really come to know who he is or his motivations. The same went for many of the supporting characters--especially his wife. When he and his wife argued, it seemed like much of the context was missing. Plus, whether or not Tracy played a jerk or not wasn't really answered--and this question is the basis for the movie that is told by Ralph Morgan through flashbacks.

An interesting effort but that is all. For a much, much better film about the millionaire industrialist starring Tracy, try watching EDWARD, MY SON--a far more complex and enjoyable film.

By the way, according to IMDb the rumor started by Pauline Kael that this film was the inspiration for CITIZEN KANE was unfounded. As for me, I didn't see the parallel either.

The story of Tom Garner opens with his grand funeral and is told through a series of elegant flashbacks narrated by his faithful lifetime friend Henry. Henry and his wife debate whether Tom was a great man and a genius or an utterly worthless scoundrel. The film is beautifully written, acted and directed, and I highly recommend it.

Tom was the fabulously rich and successful owner of a large railroad, dominating his board of directors and his competition, terrorizing his employees, slaughtering strikers. Tom's ambitious wife Sally was responsible for all of Tom's success. When he met her, he was illiterate and entirely content with his work as a trackwalker for the railroad. Sally teaches him to read and takes over his trackwalker job while Tom goes to school. He starts to rise one step at a time through the railroad hierarchy until he eventually takes over as president.

But as Tom becomes a business tycoon, his marriage to Sally gradually falls to pieces. His spoiled son despises him, and he takes up with a much younger woman (the aptly named Eve), with predictably catastrophic consequences. In his business life, Tom is a total success; in his personal life, a disastrous failure. Much like the Hearst figure in "Citizen Kane," Tom symbolizes the best and the worst of the capitalist system.

Spencer Tracy is terrific in the role of Tom Garner and the business scenes ring with authenticity. Colleen Moore is also excellent as Sally; both of them age beautifully in the multi-generational story. The film was written by Preston Sturges, but is nothing like the screwball comedies for which Sturges became famous.

Paauline Kael--who made many claims, mostly unfounded, about the "true origins" of 'Citizen Kane'--was by no means the first to mention Sturges' script for 'The Power & the Glory' as a forerunner to Welles & Mankiewicz.

Jorge Luis Borges, in his 1941 review of 'Kane' in the periodical Sur, noticed the similarity in storytelling: "A kind of metaphysical detective story ... the investigation of a man's inner self, through the works he has wrought, the words he has spoken, the lives he has ruined. The same technique was used by Joseph Conrad in 'Chance' (1914) and in that beautiful film 'The Power & the Glory': a rhapsody of miscellaneous scenes without chronological order."

Of 'Kane' Borges also said: "In a story by Chesterton ... the hero observes that nothing is so frightening as a labyrinth with no center. This film is precisely that labyrinth." (Translation by Suzanne Jill Levine, from "An Overwhelming Film" in Borges, 'Selected Nonfictions,' Penguin 1999.) Famous remarks from a famous review, at least in the non-Anglo-Saxon world ... though Borges was critical of 'Kane' as well as complimentary.