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The Majestic serves as a patriotic tribute to America, albeit sung in a key that might seem disconcerting to some. During a time when our leaders seem ready to conduct trials outside the scope of American law, this is a film that least tries to hide its affection towards the Constitution and the Bill of Rights. Now, the film was made during the “early 1950s”, but the resonances of today with that epoch are deeply unsettling and equally apparent.
This is, however, not a dark political film. Rather, it is a gentle romantic comedy featuring Jim Carrey, complete with the clichés of mistaken identity and amnesia that have always existed in storytelling. It nostalgically honors our WWII veterans by reminding us of the small-town cinemas and the folks that manage them. It is about as good as any film released this year.
I personally believe each review of “The Majestic” will analyze it in the context of Frank Capra’s works, which as I figure it, is completely fine. In the same sense, it is perfectly obvious that Frank Darabont has intentionally set out to make a transition It is gratifying to remember the good side of America the Capra patriotism of yore. The myth-mongering of today’s super-duper Rambo ism has made us forget that America has non militaristic reasons for pride: freedom. What if we win again, but this time at the price of our principles? Who exactly wins? “The Shawshank Redemption” and “The Green Mile” are both directed by Darabont, who works on large canvasses filled with characters we empathize with. Carrey (who has never looked better or more sympathetic) is casted as Peter Appleton, a vain and savvy young man working as a screen writer in Hollywood who, for some reason, happens to have a mark on his name. Out of sheer whimsy, he once attended a leftist college political rally, doomed to be blacklisted by the House Un-American Activities Committee and subpoenaed to testify.
Nobody accepts he was a communist (which wasn’t illegal anyway), but as a condition to keep his job, he has to appease the committee by attending hearings and starts reading a list of communists which he has to “name”. Since he doesn’t know any, the committee will helpfully supply names.
While being morose and bewildered (the starlet girlfriend has dropped him like a hot potato), Peter meanders north along the coast. His car goes over a bridge and the next day he wakes with no idea of who he is, or how he ended up there. A friendly dog-walker (James Whitmore) brings him towards a small town where it strikes everyone as familiar. Finally Old Harry Trimble (Martin Landau)who owned the local cinema could not help say it out loud for a change: This is his son Luke, which he thought he lost during the war and returned after 9 years.
The town also welcomes Adele Stanton (Laurie Holden), his former girlfriend. The town is in a depression after losing over 60 young men to the war. Nevertheless, Luke’s return gives them new motivation to make a fresh start. Even old Mr. Trimble decides to reopen the Majestic Theater.
The second act of the film is about Peter gradually becoming Luke. Darabont gives the town a Capra feel. Everyone seems to gather at the diner, there is a big band dance down at the Point, and Luke and Adele stroll home as if they are James Stewart and Donna Reed. Some people, including Adele, wonder if this actually is Luke, but choose to remain silent.
To avoid discussing plot elements, I want to highlight one moment where Michael Sloane’s screenplay works perfectly. As is customary for these stories, at some point we know Peter’s identity will be exposed. Normally in a standard formulaic picture, there would be a moment where Adele feels sorely wronged because she was lied to, and out of nowhere, an idiotic conflict comes to life where everyone acts like there is something they should be saying but don’t.
Not here. In one of the pivotal moments of the film, Peter reveals the truth to Adele before he has to. Her reaction is not based on a misunderstanding but true sentiments. The film is straightforward with its story and with us as viewers. It even goes as far as to have the villagers pose the obvious questions regarding the whereabouts of Luke for the last ten years and whether he has built a family. That way, we have a solid basis for the third act where Peter heads back to Los Angeles to give his testimony in front of the House committee.
His testimony is reminiscent of Gary Cooper, Jimmy Stewart, Spencer Tracy and other Capra heroes defending American values, “That’s the First Amendment, Mr. Chairman. It’s what we’re all about if only we live up to it.” It is also weirdly comical (Peter issues a defense of being a subversive with the explanation that he was rather hot under the collar). The committee is brought to life by Hal Holbrook as the elder statesman Chairman, Bob Balaban as the nasty little inquisitor, and the whole committee brings to mind frightening images of communism as a rationale for putting the Bill of Rights into cold storage.
Like any other film by Frank Darabont, “The Majestic” has ample depth and time that you can sink into and move around in. While not as lengthy as “The Green Mile” at 182 minutes, it is indeed The Shawshank’s runtime of 143 minutes. It certainly does make full use of its run time, requiring every bit of it to Tell a complete story in three acts which introduces character as well as possesses the passion to make the audience care about it. When going into production, there was certainly no sign for the disaster of 911. It is quite uncanny however, for the film does have an alarming relevance for the audience in the current day case it was made over two decades ago. There is a powerful claim made in the movie narrative, which is that we American and believe that traditional freedoms and systems are strong enough to withstand any threat put forth.
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