Yet, if there is a dark side of America, the film quite ably captures that aspect as well \u2013 and contrary to popular belief, it is found not solely in Mr. Potter. One sees a dark side represented by George Bailey himself: the optimist, the adventurer, the builder, the man who deeply hates the town that gives him sustenance, who craves nothing else but to get out of Bedford Falls and remake the world. Given its long-standing reputation as a nostalgic look at small-town life in the pre-war period, it is almost shocking to suggest that the film is one of the most potent, if unconscious critiques ever made of the American dream that was so often hatched in this small-town setting. For George Bailey, in fact, destroys the town that saves him in the end. . . .<\/p>\n
However, if George\u2019s grandiose designs, first to become an explorer, and later to build new modern cities, are thwarted due to bad fortune, he does not cease to be ambitious, and does not abandon the dream of transforming America, even if his field of design is narrowed. Rather, his ambitions are channeled into the only available avenue that life and his position now offer: he creates not airfields nor skyscrapers nor modern cities, but remakes Bedford Falls itself. His efforts are portrayed as nothing less than noble: he creates \u201cBailey Park,\u201d a modern subdivision of single-family houses, thus allowing hundreds of citizens of Bedford Falls to escape the greedy and malignant clutches of Mr. Potter, who gouges these families in the inferior rental slums of \u201cPottersville.\u201d George\u2019s efforts are portrayed as altogether praiseworthy, and it is right to side with him against the brutal and heartless greed of Potter. However, such sympathies serve also to obscure the nature of Bailey\u2019s activities, and their ultimate consequences. In particular, it is worth observing the nature of \u201cBailey Park,\u201d not merely by contrast to \u201cPottersville\u201d \u2013 in comparison to which it is clearly superior \u2013 but also in contrast to downtown Bedford Falls, where it may not compare as favorably by some estimations. . . .<\/p>\n
The patio \u2013 successor to the front porch \u2013 embodies as many implicit assumptions about how life is to be led as the porch. Thomas notes the move from urban centers into suburban enclaves in the years following World War II led to the creation of \u201cbedroom communities\u201d in which one did not know one\u2019s neighbors and where frequent turn-over made such stable community relationships unlikely, where privacy and safety were dual concerns leading to the creation of the \u201cpatio\u201d space behind the house, most often at the expense of a porch in the front. As Thomas contrasts the two, \u201cthe patio is an extension of the house, but far less public than the porch. It was easy to greet a stranger from the porch but exceedingly difficult to do so from the backyard patio\u2026. The old clich\u00e9 says, \u2018A man\u2019s home is his castle. If this be true, the nineteenth-century porch was a drawbridge across which many passed in their daily lives. The modern patio is in many ways a closed courtyard that suggests that the king and his family are tired of the world and seek only the companionship for their immediate family or peers.\u201d<\/p>\n
Bailey Park is not simply a community that will grow to have a similar form of life and communal interaction as Bedford Falls; instead, George Bailey\u2019s grand social experiment in progressive living represents a fundamental break from the way of life in Bedford Falls, from a stable and interactive community to a more nuclear and private collection of households who will find in Bailey Park shelter but little else in common.<\/p>\n
We also learn something far more sinister about Bailey Park toward the end of the film. . . .<\/p>\n
George confirms a horrific suspicion: Bailey Park has been built atop the old cemetery. Not only does George raze the trees, but he commits an act of unspeakable sacrilege. He obliterates a sacred symbol of Bedford Fall\u2019s connection with the past, the grave markers of the town\u2019s ancestors. George Bailey\u2019s vision of a modern America eliminates his links with his forebears, covers up the evidence of death, supplies people instead with private retreats of secluded isolation, and all at the expense of an intimate community, in life and in death. . . .<\/p><\/blockquote>\n
The rest of the essay is pretty good, too. Check it out. (Hat tip<\/a> to Rod Dreher at the Crunchy Con blog.)<\/p>\n<\/body><\/html>\n","protected":false},"excerpt":{"rendered":"Last month, I linked to an essay which argued that Henry F. Potter was actually not the villain of It\u2019s a Wonderful Life (1946), but its \u201cunsung hero\u201d. Now Patrick Deneen at the What I Saw in America blog argues that the ostensibly heroic George Bailey may be better than Potter, but he still represents […]<\/p>\n","protected":false},"author":1116,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1133","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"yoast_head":"\n
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<\/a>