The air becomes charged with electricity around desperate men. WW2 vet Lawrence ‘Rip’ Smith (James Stewart) is looking to find a way to beat fellow pollster George Stringer and his military colleague Professor Frederick Hoopendecker (Kent Smith) tells him about Grandview, a town that offers a precisely representative model for the entire United States. Rip promises a client a result within 24 hours that Stringer has been working on for a long time and he and his team arrive in the town posing as insurance salesmen. He has to deal with Mary Peterman (Jane Wyman) who is trying to persuade the Mayor (Harry Holman) to build more property and give the town a civic centre – which would alter the demographic. It forces Rip to address the town and they side with him, not Mary who writes an editorial about him in her family newspaper. While they are attracted to each other, he is gathering information as well as coaching the school basketball team. When she overhears him calling a client, she writes another story about the reason for his being in Grandview and a national paper picks it up and Rip’s mission is made known in the ‘public opinion capital of the U.S.’ … Okay now. You’re a typical American – act like it! Robert Riskin’s script is rather reminiscent of a Frank Capra film – but then he wrote most of them, despite Capra’s self-aggrandising public line that his was The Name Above the Title. And yet this isn’t directed by Capra, but by William Wellman. While it readily captures much of the kind of atmosphere and social concerns of Riskin’s pre-WW2 work in that partnership the shifts from comedy to drama aren’t managed in the same way – with Riskin as producer from a story he wrote with Joseph Krumgold and Wellman directing, the sharp ends of the story are confronted directly, suggesting the compromises the screenwriter might have been making prior to this production. Rip wants money, Mary is after a good story with a political edge. This exists almost in inverse relationship to Riskin’s previous narratives, with the kinds of conversations that Capra softened into sentiment given a much tougher emphasis here (underlined by the Roy Webb’s score). So it’s the same type of material as before but given a much different treatment, although it all comes together in the end with the people creating their own destiny. This as ever with Riskin is a blue-sky picture asking people what kind of country they want the United States to be and to make it happen democratically – but he never takes his eye off the ball, locating the peculiar way in which families run towns and thereby society as a whole. Fascinating as a prism through which to view Stewart’s stuttering post-war career (It’s a Wonderful Life was also a box office failure) as well as clarifying what Riskin had done for Capra now that they were separate entities. That’s Mickey Rooney’s dad Joe Yule as the radio comic. How do you like your fancy beautiful circus of a town now?