From Saturday Night Live of Christmas past:
If the movie had actually ended this way, it might have gotten the film-makers in some political trouble. Moyer & Company report over at Rawstory that “It’s A Wonderful Life” was suspected already thought to be communist propaganda by some:
…when the movie first came out, it fell under suspicion from the FBI and the House Un-American Activities Committee (HUAC) as Communist propaganda, part of the Red Scare that soon would lead to the blacklist and witch hunt that destroyed the careers of many talented screen and television writers, directors and actors.
Screenplay credits on “It’s a Wonderful Life” went to Frances Goodrich and her husband Albert Hackett, Capra and Jo Swerling, although a number of others took turns at different times, including Clifford Odets, Dalton Trumbo and Marc Connelly – not an unusual situation in Hollywood. But a 1947 FBI memorandum, part of a 13,533 page document, “Communist Infiltration of the Motion Picture Industry,” first went after the writers Goodrich and Hackett:
“According to Informants [REDACTED] in this picture the screen credits again fail to reflect the Communist support given to the screen writer. According to [REDACTED] the writers Frances Goodrick [sic] and Albert Hackett were very close to known Communists and on one occasion in the recent past while these two writers were doing a picture for Metro-Goldwyn-Mayer, Goodrick [sic] and Hackett practically lived with known Communists and were observed eating luncheon daily with such Communists as Lester Cole, screen writer, and Earl Robinson, screen writer. Both of these individuals are identified in Section I of this memorandum as Communists.”
The memo goes on to cast doubt on the movie’s storyline, in which Jimmy Stewart’s George Bailey and his struggling savings and loan fight on behalf of the good people of Bedford Falls against the avarice and power of banker and slumlord Henry Potter, played by Lionel Barrymore:
“With regard to the picture ‘It’s A Wonderful Life’, [REDACTED] stated in substance that the film represented a rather obvious attempt to discredit bankers by casting Lionel Barrymore as a ‘scrooge-type’ so that he would be the most hated man in the picture. This, according to these sources, is a common trick used by Communists.
“In addition, [REDACTED] stated that, in his opinion, this picture deliberately maligned the upper class, attempting to show the people who had money were mean and despicable characters. [REDACTED] related that if he had made this picture portraying the banker, he would have shown this individual to have been following the rules as laid down by the State Bank Examiners in connection with making loans. Further, [REDACTED] stated that the scene wouldn’t have ‘suffered at all’ in portraying the banker as a man who was protecting funds put in his care by private individuals and adhering to the rules governing the loan of that money rather than portraying the part as it was shown. In summary, [REDACTED] stated that it was not necessary to make the banker such a mean character and ‘I would never have done it that way.’”
This was part of an FBI evaluation of several Hollywood movies – others included “The Best Years of Our Lives” (which beat “It’s a Wonderful Life” at the Oscars for Best Picture and Best Director), “Pride of the Marines,” and Abbott and Costello in “Buck Privates Come Home.”
Read the full Rawstory report here.
I still think the alternative-ending from SNL would have been a more fun.