Elmer Gantry (1960)

Elmer Gantry On Film

A friend recently wrote a review of Sinclair Lewis' 1927 novel "Elmer Gantry" which provoked substantial comment from many fellow readers and reviewers. The discussion prompted me to watch this 1960 film adaptation of Lewis' novel, which I hadn't seen before. The film changed the novel in many ways, as is appropriate for the difference in the medium. Lewis' novel was described by his biographer, Mark Schorer, as "the noisiest novel in American literature, the most braying, guffawing, belching novel that we have", a characterization that also fits the movie. This review is directed to the film version of Lewis' story.

The movie is set in 1928 and tells the story of the womanizing, drinking and charismatic title character who moves from the role of traveling salesman and huckster to the role of revivalist and evangelist. Elmer Gantry uses chance opportunity to ingratiate himself with a young woman evangelist, Sister Sharon Falconer, through his gift of public speaking and his ability to get along with people. Falconer in fact is a sincere believer in what she preaches. She and Gantry take their revival ministry from small rural communities to a medium sized middle-west town. The experience is difficult due to the opposition of some of the local clergy to the commercialization and vulgarization of religion and due to the religious skepticism of some of the townspeople, including representatives of the news media. The venture nearly comes off the rails when Gantry is framed by a former lover who has been reduced to working as a prostitute. Gantry and Falconer are able to put their professional and personal relationship back together before the film's heavily destructive climax and conclusion.

Richard Brook's Academy Award winning screenplay and dialogue works to focus this two and a half hour film, and it moves quickly. The acting is convincing throughout with Burt Lancaster receiving an Academy Award for best actor for his energetic portrayal of Gantry. Shirley Jones received an Academy Award for best supporting actress for her portrayal of Gantry's old flame, the ruined Lulu Baines. Jean Simmons offers a moving, sympathetic performance of Sharon Falconer. Arthur Kennedy portrays a skeptical newspaperman, Jim Lefferts, while Dean Jagger is Falconer's elderly manager, Bill Morgan.

The film captures the rawness and vulgarity of some parts of the revivalist movement which, in the language and action of the movie, equate Gantry to a circus and to a commercial, sports-like superficial United States. These characterizations also are mirrored in the moblike audience for the spectacle, which is captured in many scenes of the film. Even Gantry, however, has a decent side, as do members of the local clergy and some of the people of the town. Falconer's religion is sincere as is the religious devotion shown by participants in a small African American church service near the beginning of the film. The overall impression, however, is one of tumult, commercialization, and hypocrisy.

Andre Previn composed the musical score for "Elmer Gantry" and it has become deservedly well-known in its own right. John Alton's cinematography of the revivalists and of the town also is an integral part of the experience of the film.

Lewis' novel has been adapted into operatic and theatrical versions in addition to this celebrated 1960 film. I enjoyed watching this film at last for its story, acting, music, and visual impact. I was glad to have the opportunity to think about the film's portrayal of religion and American life.

Robin Friedman