As the film negative of Dickens’ A Christmas Carol, Frank Capra’s 1946 It’s a Wonderful Life is a fantastical parable that goes straight to the core of the individualistic ethos and challenges everything that is dear to western societies and their ideas about self-realisation.
How does one reconcile the two contradictory aspects attached to this classic film, i.e. the long tradition of playing the movie as a Christmas staple with the fact that the story can be taken as a communist yarn? The whole tale of George Bailey and the obstacles he encounters in his pursuit of happiness could be summarised as the story of someone’s frustrated dreams. By the end, with a little help from an aural friend, he is convinced that his altruistic attitude has all been for the best. If such posture does not show America’s approval of the common good and the collective well-being, then I don’t know what does. Continue reading