Review of Elmer Gantry (1960) by Christina C — 19 Jan 2008

Here's another oldie that still has a lot to say about humanity and about society - perhaps more so than when it came out. "Elmer Gantry" is about faith and religion and consumerism and mob mentality and also the genuine humanity of each person on either side of the religious/secular divide: or like Elmer, literally straddling the middle!

It's overlong and the ending gets messy in more ways than one - but its strength is in maintaining the humanity of each character, from Sharon to Elmer to Lulu to Lefferts.

As the titular conman-turned-preacher, Lancaster blasts out a deservedly Oscar-winning performance. Nobody else could play Brother Gantry: unabashedly using every element of his megawatt movie-star glamour and carefully exposing enough to show both the cynicism and vulnerability underneath. Jean Simmons turns in a striking performance too as the very unusual Sharon Falconer - a true believer who won't allow herself to be human. Mention also has to be made of Shirley Jones as Lulu, the woman scorned. (Also was nice to see Patti Page act - and to hear her sing!).

A great companion piece would be "Inherit the Wind", which deals more specifically with creationism (Spencer Tracy and Fredric March). As an examination of faith and organised religion, "Elmer Gantry" doesn't have the rational rigour perhaps of "Inherit the Wind", but focuses more on the emotional, instinctive response people have to religion.

"Elmer Gantry" is defined by its titular performance. Like so many of Lancaster's film choices, and like him, this is an unusual creature: halfway between the iconic Golden Age, and the modern "realistic" style. In its big, bombastic way, it nonetheless deals rather earnestly with some rather subtle ideas ... and perhaps the resulting confusion isn't such a bad thing, as it allows the viewers to make up their own minds.