“By jing, that’s all there is to it: right and wrong.”
Genres, Themes, Actors, and Directors:
… his tragic first love with Ann Rutledge (Pauline Moore):
… his crush on Mary Todd (Marjorie Weaver):
… and his general preference for thinking and reading while lying prone.
What’s perhaps most delightful about the film is the way in which it humanizes a mythic figure: Lincoln is portrayed not only as brilliant and highly ethical (he’s consistently attempting to make sense of the world through his evolving moral perspective), but as a flesh-and-blood man with a quick tongue, pugilistic tendencies, and lack of self-confidence. Key to this characterization, of course, is Fonda’s uncanny embodiment of Lincoln — thanks in part to a prosthetic nose and make-up:
but mostly to Fonda’s talents; other than his lead role the following year as Tom Joad in The Grapes of Wrath (1940), this is likely his finest performance onscreen. Also of note is Ford’s assured directorial hand: as usual, he frames each scene strategically, with such an eye for harmonious balance and carefully crafted juxtapositions that one is reminded why he’s considered one of America’s all-time greatest directors.
Redeeming Qualities and Moments: