Film / A Face in the Crowd

"—Marshy—lookit all them TV aerials, stickin' up like branches—a whole forest of 'em. From here to San Diego. And all of 'em waitin' t' hear what I got to say."
Lonesome Rhodes

A roving young reporter (Patricia Neal) brings her radio equipment into a podunk Arkansas jail and falls into an interview with one of the inmates (Andy Griffith), who proves, probably to his own surprise, to be a naturally charming and charismatic man. Christened "Lonesome" Rhodes, he begins a rocket-fueled ascent from drunken drifter to national media and political powerhouse, changing both of them forever.

Written by Budd Schulberg (based on his short story "Your Arkansas Traveler") and directed by Elia Kazan, this 1957 film's message about the power and danger of media demagoguery is still frighteningly relevant, while Griffith's memorable acting helped him get his start in Hollywood, and is usually considered the finest performance of his career.

In 2008 the film was added to the National Film Registry.

The film provides examples of:

  • The Cameo: Numerous real-life media personalities of the era appear as themselves, including Burl Ives and Mike Wallace.
  • Deadpan Snarker: Mel Miller (Walter Matthau), the world-weary head writer for Rhodes' Cracker Barrel show.
  • Deliberate Values Dissonance: Slipped in here and there by Kazan and Schulberg, just to give a somewhat less romanticized portrait of the South than most works at the time; for example, when we first meet "Uncle" J.B., the station manager of KGRK, he's getting his shoes shined by a black attendant that he jovially pats on the head like a dog.
  • Drunk with Power: The more attention Lonesome gets, the more arrogant he becomes, culminating in his Engineered Public Confession.
    Cracker Barrel Cast Member: You really sell that stiff as a man among men?
    Rhodes: Those morons out there? Shucks, I could take chicken fertilizer and sell it to them as caviar. I could make them eat dog food and think it was steak. Sure, I got 'em like this... You know what the public's like? A cage of guinea pigs. (grins and waves to camera, sarcastically) Good night, you stupid idiots. Good night, you miserable slobs. They're a lot of trained seals. I toss them a dead fish and they'll flap their flippers.
  • Engineered Public Confession / Is This Thing Still On?: Unbeknownst to Lonesome, Marcia takes control of the production booth to broadcast his speech in Drunk with Power live over the airwaves. Upon seeing that he is a Nice Character, Mean Actor, his audience and sponsors promptly desert him en masse.
  • From Bad to Worse: Rhodes, before and especially after his downfall.
  • From Nobody to Nightmare: Lonesome Rhodes is very much an example of this.
  • Male Gaze: The drum majorette scene features numerous shots from what is clearly Lonesome's perspective. Lampshaded when J.B. catches him with a lingering smile at one of the girls.
    J.B.: She's only seventeen...
    Lonesome: (Composes himself; solemnly) She looks like a very sweet child.
    • Griffith said years later that the direction that Kazan gave him for that scene was to mentally "fuck her" and his lecherous, leering smile was the result.
  • Nice Character, Mean Actor: Lonesome again. Inversely, Griffith in real life was so disturbed by the effects that playing Rhodes had on him, that it was decades before he agreed to play another villain.
  • No Celebrities Were Harmed: Lonesome Rhodes, at least in his public persona, appears to be something of an amalgam of Will Rogers and Arthur Godfrey. Godfrey had already inspired the similar 1956 film The Great Man, directed by and starring Jose Ferrer.
  • Pet the Dog: The first thing Lonesome does with his Memphis TV show is hold a fundraiser for a homeless black woman. Pretty daring for the Deep South during The Fifties! When he hits the big time, his charity fundraisers become more cynical.
  • Please Don't Leave Me: Said by Rhodes to Marcia several times when she gets sick of his hubris and threatens to walk out of his life; it is not until after engineering his downfall that she has the courage to refuse his pleas.
  • Precision F-Strike: During the climax, after Lonesome has inadvertently told his audience what he really thinks of them on the air, we see the reactions of different viewers, including a group of hard-hatted workmen in a bar. One of whom offers this comment (with the offending word dubbed out, but clearly visible on his lips):
    Workman: We'll f______ fix you, Jack.
  • Rags to Riches: Rhodes goes from a drifter with one spare shirt and a guitar to his name to having the top two floors of a New York Hotel.
  • "The Reason You Suck" Speech: Delivered by Mel Miller to Lonesome following his downfall.
    Rhodes: Listen, I'm not through yet. You know what's gonna to happen to me?
    Mel: Suppose I tell you exactly what's gonna happen to you. You're gonna be back in television. Only it won't be quite the same as it was before. There'll be a reasonable cooling-off period and then somebody will say: "Why don't we try him again in a inexpensive format. People's memories aren't too long." And you know, in a way, he'll be right. Some of the people will forget, and some of them won't. Oh, you'll have a show. Maybe not the best hour or, you know, top 10. Maybe not even in the top 35. But you'll have a show. It just won't be quite the same as it was before. Then a couple of new fellas will come along. And pretty soon, a lot of your fans will be flocking around them. And then one day, somebody'll ask: "Whatever happened to, ah, whatshisname? You know, the one who was so big. The number-one fella a couple of years ago. He was famous. How can we forget a name like that? Oh by the way, have you seen, ah, Barry Mills? I think he's the greatest thing since Will Rogers."
  • Slasher Smile: Ever expect to see one from Andy Griffith? Holy shit.
  • Strawman News Media
  • Telethon: Goes at least seventeen hours, but a sign held by one of the crippled children shows that it's also a commercial for Lonesome's sponsor.
  • Villainous Breakdown: As a result of Rhodes' downfall.