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If English is your first language and you could translate my old Italian text, please contact me.
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Gli ideali del New Deal di Roosevelt furono incarnati da James Stewart, il
giovane tutt'altro che atletico impregnato dei grandi ideali della Nazione, ingenuo e sempre in buona fede,
incredulo davanti a qualunque prepotenza o malvagità.
James Stewart was studying architecture at Princeton when he started acting in theater.
You Can't Take It With You (1938),
Mr Smith Goes to Washington (1939) e
It's A Wonderful Life (1946)
ne forgiano lo stereotipo sotto l'abile guida di
Frank Capra.
Meanwhile, he represented the rule of law in
George Marshall's western Destry Rides Again (1939).
His glory days were the 1950s.
He also played in
harmless comedies like
Ernst Lubitsch's
The Shop Around the Corner (1940)
and
George Cukor's
The Philadelphia Story (1940).
One of his best performances was in fact the alcoholic madman of
Henry Koster's fairy tale Harvey (1950),
whose best friend is an invisible white rabbit.
Sul versante western il tipo idealista populista di Stewart trovò la
naturale collocazione nei film di
Anthony Mann
(Winchester 1973,
Naked Spur, The Man From Laramie,
Far Country)
tipicamente nella parte di disilluso e amareggiato, determinato vendicatore.
He was also the alternative kind of hero (non-violent and educated) in
John Ford's
westerns, where his moralist and mannerist way of speaking matched the challenges of an anarchic social environment (Two Rode Together, 1961;
The Man Who Shot Liberty Valance, 1962;
Cheyenne Autumn, 1964).
La sua ingenua predisposizione ai guai ne fecero
anche uno degli attori preferiti di
Alfred Hitchcock
(
The Rope, 1948;
Rear Window, 1954;
Vertigo, 1958), in parti
ambigue di cinico, voyeur impotente e necrofiliaco nevrotico.
La sua fiducia negli ideali è cieca, né tormentata da dubbi
esistenziali (Fonda) né titanico-crepuscolare (Wayne).
Stewart was also
the reporter of Call Northside 777 (1948),
the absent-minded scientist of Henry Koster's No Highway in the Sky (1951),
the clown of The Greatest Show on Earth (1952),
the aviator of
Billy Wilder's
The Spirit of St Louis (1957),
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