"The Last Hurrah"

is a notable film about American politics which unusually Mark Pack has not commented on. Perhaps it escaped his attention because it was not a commercial success (I came across it for the first time only last night on the Sony Movies Classic channel). Perhsps it was because director/producer John Ford undercut the drama with comedy, sometimes too broad for modern tastes. Personally, I also found the sentimental finale too long-drawn-out, but one has to accept both  the  comedy and the pathos as part and parcel of a Ford film.

The Last Hurrah is based on a novel of the same name by New England journalist Edwin O'Conner, who is given the credit for making the term part of political parlance. It was his first big success and the studio's tag-lines sought to capitalise on that ("All the fun, the fury, and fabulous characters of the famous book!"). It is rooted in Irish-American politics, something which Ford (born John Martin Feeney) must also have known much about. The plot revolves around Frank Skeffington (played by Spencer Tracy) the widowed mayor of a city which bears a strong resemblance to Boston, Mass. Over many years, he has built up a political machine with strong links to the Irish Catholic community - but not forgetting the Jews - and he now seeks to crown his career with a final re-election campaign. He invites his journalist nephew Adam to witness the campaign from the inside*. Adam has clearly become like a son to him, his own prodigal offspring being a considerable disappointment. The difficulty is that not only does Adam work for an influential local newspaper (in the days when towns of any size in the States could boast several) whose editor supports the opposition, but also has married into old money. His father-in-law, along with fellow blue-bloods who control the local financial institutions is inherently opposed to Skeffington, clearly motivated by class and religion. Adam starts off with affection for his uncle but indifference or suspicion about his poltical career. However, this turns to respect during the campaign on his part and even that of his wife.

It is possible to enjoy the film without being interested in politics. The personal conflicts and allegiances - sometimes shifting - are absorbing. The acting is excellent and there is a Fordian repertory feeling about the production.  Also, there are some splendid set-pieces, involving many extras and uncredited actors, something which must have added to the costs of the film. It seemed that everybody involved, no matter how minor their part, had a contribution to make.

But the main theme running through the movie is stated by Skeffington early on, that the days of the personal political campaign are over in the face of advancing technology. In the 1950s, that technology was television and to some extent radio. Today, social media and their manipulation by big money are even more influential. However, at council level there are still Skeffingtons around. It is certainly true of south Wales and surely also of America that all politics is local.

* "Embedding" started in politics before it became a feature of armed conflict.