The Couch Potato's Guide to Old Hollywood: The Legacy of James Stewart

Liberty Films, Public domain, via Wikimedia Commons

By Geoff Carter

I was flipping around the TV dial a couple Saturdays ago, and there wasn’t much on—more ubiquitous reruns of Law & Order, even more overbearing chatter on MSNBC, and an endless line of banal reality shows. Then I happened to flip to TCM and caught the opening credits of Rear Window. Now, during his lifetime, the Couch Potato has probably seen this movie at least fifty times—or about once a year. And the thing is that it’s one of those movies that I’ll watch again. And again. And again. There are at least three reasons for that, I think. One—of course—is that it’s one of Hitchcock’s best; secondly, there’s the sublimely graceful Grace Kelly, and, finally, there is the presence of James Stewart.

Some actors are chameleons, deftly changing their voices, accents, and personalities to fit their roles. Meryl Streep excels at this, as does Tom Hardy, Willem Defoe, Christian Bale, and Daniel Day-Lewis. Other actors never seem to veer to far outside of their own personas in their work. We might put Tom Hanks, John Wayne, Katherine Hepburn, Henry Fonda, and James Stewart into this last category. It’s hard to imagine Katherine Hepburn or Jimmy Stewart subsuming themselves so far into a role that we wouldn’t be able to recognize them. Which does not make them bad actors. On the contrary, in his long and storied career, Stewart played roles ranging from naïve bumpkins and clueless pilgrims to shrewd lawyers and crafty politicians to—probably his most well-known persona—decent everyday men disillusioned and beaten down by life or circumstances.

While Stewart typically conveys the impression of a congenial and affable guy, there is almost always an undercurrent of anger and even righteousness lurking just underneath that veneer. Remember the scene in It’s a Wonderful Life when he rages at Donna Reed, telling her he doesn’t want kids or a ground floor, that he wants to travel. That anger is borne of his frustration at being stuck in Bedford Falls (evidence of his inherent decency). He has been called an everyman, an average Joe, but the truth is that the most average of any human being has depths and layers that can only be guessed at. The complexities Stewart explores and conveys with his characters transcend that guy next door or the nobody who sits at the back of the bus. That is why he makes everyone feel special.

James Stewart’s Ten Best Films

Anatomy of a Murder: A shrewd small-town lawyer is recruited to defend a career Army lieutenant from murdering the man who allegedly raped his wife. As Paul Biegler, the defense attorney, Stewart depicts an intelligent, compassionate, and ultimately decent man who also shrewdly and aggressively defends his client. The scene in which he subtly coaches defendant Gazarra on the finer points of the law, specifically on insanity defense, is a remarkable example of Stewart’s nuanced and layered performance. Notable for its exceptional courtroom scenes with George C. Scott at his ruthless best as the prosecution’s hired gun.

Starring: James Stewart, Arthur O’Connell, Lee Remick, Ben Gazarra, Eve Arden, George C. Scott, and Murray Hamilton. Written by Wendell Mayes and John D. Voelker. Directed by Otto Preminger.

Rear Window: L.B. Jeffries (James Stewart), a bold photojournalist, is reduced to watching the lives of the neighbors in his apartment complex through his rear window after being laid up by a work accident. After covertly observing the strange activities of one of his neighbors, he becomes convinced the man has murdered his wife, disposed of her body, and recruits his girlfriend (the sublimely elegant Grace Kelly) to help him gather evidence of the man’s crime. Stewart’s depiction of a world-weary but restless middle-aged man whose voyeuristic pastimes spur his righteous—but morally questionable—curiosity is timeless. Notable for the elaborate set constructed specifically for the film.

Starring: James Stewart, Grace Kelly, Wendell Corey, Thelma Ritter, and Raymond Burr. Written by John Michael Hayes. Directed by Alfred Hitchcock.

Mr. Smith Goes to Washington: After the death of a sitting senator, the powers that be in a western state recruit Jefferson Smith, (Stewart), a young and idealistic newspaperman, to take his place. Meant to be a simple stooge, Smith finds himself embroiled in cutthroat politics after he runs afoul of party boss Jim Taylor and co-Senator Thomas Payne. In the final filibuster scenes in the U.S. Senate, when Smith becomes worn down by fatigue, Stewart exhibits his trademark depiction of a good man brought to his knees by slander, disillusionment, and disappointment. His despair during this is absolutely racking to watch. Notable for the great supporting cast including Claude Rains, Thomas Mitchell, and Harry Carey.

Starring: James Stewart, Jean Arthur, Thomas Mitchell, Claude Rains, Beulah Bondi, Harry Carey, and Edward Arnold. Written by Sidney Buchman and Lewis Foster. Directed by Frank Capra.

It’s a Wonderful Life: Another collaboration between Stewart and Frank Capra—and Stewart’s favorite—this perennial and ubiquitous holiday classic examines the root causes of one very decent man’s disillusionment and deep despair. In this layered performance in which Stewart depicts George Bailey as a young idealist, a romantic, and as a struggling businessman pondering suicide; ironically, his despair stems from protecting his town from being taken over by the greedy Mr. Potter. Notable for Donna Reed’s effervescent performance and its inspirational ending.

Starring: James Stewart, Donna Reed, Thomas Mitchell, Ward Bond, Lionel Barrymore, Henry Travers, and Gloria Grahame. Written by Frances Goodrich, Albert Hackett, and Frank Capra. Directed by Frank Capra.

Vertigo: The classic Hitchcock thriller in which Stewart plays Scottie Ferguson, a former police detective wrestling with a pathological fear of heights and the guilt of having caused a young woman’s death. After a prolonged recovery, Scottie encounters the dead woman’s doppelganger and coerces her into changing her appearance until she is finally transformed into his lost love. In this role, Stewart communicates Scottie’s deep anguish and guilt—and eventual obsession—while sustaining a sympathetic persona for this damaged character. Even though it’s twisted, the viewer can understand his motivation. Also notable for Hitchcock’s stunning direction and incredible cinematography.

Starring: James Stewart, Kim Novak, Barbara Del Geddes, Tom Elmore, Henry Jones, and Ruth Corbett. Written by Alec Coppel and Samuel Taylor. Directed by Alfred Hitchcock.

The Philadelphia Story: A delightful romantic comedy in which a high society wedding is sabotaged by the brides’s—Tracy Lord (Katherine Hepburn) first husband C. Dexter Haven (Cary Grant). Cynical tabloid reporter Macaulay “Mike” Connor (James Stewart) is assigned to cover the wedding with his wise-cracking photographer (Ruth Hussey). Taken with Mike, Tracy is conflicted about her feelings between him, Dexter, and her fiancé. She and Mike get drunk and take a late-night swim that ultimately forces the issue. Stewart here is at his comic best although his initial contempt for the upper is an entirely believable—and likable—facet of his character. Notable for the great chemistry between Grant, Stewart, and Hepburn.

Starring: James Stewart, Katherine Hepburn, Cary Grant, Ruth Hussey, John Howard, and Roland Young. Written by Donald Ogden Stewart. Directed by George Cukor.

Harvey: The whimsical tale of Ellwood P. Dowd (Stewart), a congenial and affable young man whose best friend is an invisible six-foot rabbit. Thinking her brother insane, Elwood’s sister seeks to have him committed at a nearby asylum but is thwarted at every turn by zany coincidences and strange occurrences. This is a role very few actors (besides Stewart) could have pulled off. He is childlike and trusting while at the same time confident—and rightly so—that everything will turn out okay. It’s hard to imagine anyone besides him sustaining those levels of patience, gentleness, and benevolence throughout an entire movie. Notable for Josephine Hull’s performance as the scatterbrained Aunt Veta.

Starring: James Stewart, Wallace Ford, William H. Lynn, Victoria Horne, and Jesse White. Written by Mary Chase and Oscar Brodney. Directed by Myles Connolly.

The Man Who Shot Liberty Valance: John Ford’s classic Western about Ransom Stoddard (Stewart), an ambitious young greenhorn who travels west to make his way as a lawyer. After being brutally beaten by outlaw Liberty Valance (Lee Marvin), Stoddard is taken in by an immigrant family and Tom Doniphan (John Wayne), a local rancher who is also quite handy with a gun. After trying to have Valance arrested, Stoddard realizes that his brand of justice is useless out West and that he will have to rely on the law of the gun. Stewart’s portrayal of Stoddard as a single-minded idealist bent on bringing civilization to the West is extremely appealing, yet he is also conveys subtle overtones of arrogance in Ransom’s solicitude. Notable for the scene in which Stoddard picks up Liberty Valance’s steak in the restaurant.

Starring: James Stewart, John Wayne, Lee Marvin, Thomas Mitchell, Vera Miles, Edmund O’Brien, and Andy Devine. Written by James Warner Bellah and Willis Goldbeck. Directed by John Ford.

Winchester ’73: An epic Western directed by Anthony Mann, the first of many collaborations between him and Stewart. Lin McAdams (Stewart) rides into town looking to settle a score with a man named Dutch, who happens to be his brother. Paired off in the final of a shooting contest, McAdams wins the coveted Winchester ’73 rifle—which Dutch promptly steals. Vowing vengeance, McAdams trails Dutch through Indian attacks, shootouts, and robberies before finally catching up with him. Stewart here is a man obsessed with vengeance, but his performance communicates a soul torn between exacting a violent rough justice for himself while still protecting the lives of others. Notable for Anthony Mann’s stellar direction.

Starring: James Stewart, Shelley Winters, Dan Duryea, Stephen McNally, Mallard Mitchell, and Will Geer. Written by Robert L. Richards and Borden Chase. Directed by Anthony Mann.

Destry Rides Again: James Stewart’s first—and rather quirky—Western. After the sheriff of the small town of Bottleneck is killed by the crooked owner of the local saloon, the new sheriff (the town drunk) summons the son of a famous lawman to help out. The affable new deputy, Tom Destry, (Stewart) refuses to strap on a gun. Initially mocked by the townspeople, Destry earns their respect after he subdues a band of rowdy cattlemen. After the new sheriff is shot, Destry is forced to strap on his guns and is ultimately able to track down the wrongdoers and make sure justice is done. Stewart’s veneer of affability—first seen as a sign of weakness—is a shrewd cover for Destry’s formidable skill set. Notable for Marlene Dietrich’s performance as saloon dancer Frenchy.

Starring: James Stewart, Marlene Dietrich, Jack Carson, Charles Winninger, and Brian Donlevy.