By Larry Cherkasov
It’s a Wonderful Life (1946) is an uplifting film only insofar as it ends on an upswing for its hero, summing up a treatise against self-destruction. Even though Frank Capra’s Christmas classic is moral allegory, class conflict suffuses it, resulting in a less-than-cheerful socioeconomic conclusion underlying its wonderful, Christmassy closing: that money can force American citizens to their knees at the expense of faith and self-confidence. Frank Capra lionizes the entrepreneurial main character, George Bailey (James Stewart), into the protector of the American Dream and gladiator of the “battle of Bedford Falls” so that he may knock him down several notches and watch him writhe. This narrative progression is not so much sadism on the part of the director as portraiture. Frank Capra uses George Bailey’s story as a case study for class relations in America, portraying the difficulty of attaining the American Dream when the Mr. Potters of the country are actively out to get the average American. The Dream haunts as a Christmas Ghost in this rightly canonized Capricorn picture.