When I saw "political boss" described of Tracy's character in THE LAST HURRAH, I really wasn't sure where director John Ford was going with this. The two words together had me literally leaving it as my own "last hurrah" of the numerous films I've recorded and watched during Spencer Tracy's turn as October 2012's TCM Star of the Month. My queue is quite full, but proportionately I've seen few duds this last month, so I gave it a shot vs. deleting it. I'm so glad I went with my faith in Tracy's choice as an actor! He rarely went wrong. My awe of him has increased tenfold in the last 5 weeks. He was a rare great, and this rare film didn't disappoint.Also, this underrated gem is one of those movies that benefits greatly from the still intact Hays Code in the late 1950's. That opinion is due to the subtle mysteries and implied allegations mixed in with the tense relationships and amusing political tactics that keep us intrigued and entertained throughout. Too much information from either side would leave us with a completely different film as often happens in modern day films. I loved the winding way the story unfolded and left me guessing as to how it could possibly play out.As it turns out, Ford, in his unique Ford way, knew exactly what he was doing. He made a film about intriguing characters...plain and simple. This is no soap opera and there were no big Indian battles set in this quaint 1950's New England Town. However, this film had all of the entertaining qualities of Ford's character driven westerns with all of the complexities that arise off the battlefield, too. It literally was one "last hurrah" as some of the fine supporting cast retired or died within a few years. What a great way to go out on a fine film led by Spencer Tracy and directed by John Ford! I'm glad these two greats matched up, along with the stellar character actor cast, to make what was one of Tracy's greatest films of his last decade and of his career. Many think those films were made with Stanley Kramer, but I actually prefer this one to those last major statement films which Tracy made with Stanley Kramer. There's nothing like infusing interesting characters with high drama and light comedy. Not to diminish the importance of the Kramer films. It's just what I prefer as a viewer. Make time to see this film if you have a fondness for any of the cast and crew or want to see a great political drama. It will be 2 hours you'll be glad you invested.

A wonderful satire on the ending of the old politics and political boss system is shown in 1958's "The Last Hurrah."Spencer Tracy was magnificent as the old time politician seeking reelection for the last time. With his loyal staff, he does what every good politician does at election time-he knew how to get people to vote for him. Tracy, as Frank Skeffington, knew that times were changing.A fine ensemble cast gave Tracy great support here. As his journalist nephew, Jeffrey Hunter knew what it would take, especially replacing his dimwitted care-free son in the film. Basil Rathbone and John Carradine are up to their old nasty ways as political foes of Skeffington. This is definitely a film of the rich fighting it out over the poor.Interesting that Director John Ford, used Anna Lee and Donald Crisp in this film. 17 years before they were in the memorable "How Green Was My Valley," and Crisp along with the film copped Oscars.A master politician Skeffington never forgot those common people. He knew how to twist hands to get things done. His surprise defeat wasn't really surprising when he himself realized that the politics of his age was passing.A heartwarming tale, showing true ethical and moral character.

We're not really sure just what it is that quality that the Irish people posses that predisposes them for success at the "Science" and Art of Politics. Scarcely getting their feet wet, the Immigrant from the Emerald Isle when they saw their children out and about working the Precincts for the local Democratic Ward Committeemen. Thus the very people who Good Queen Victoria had told the World were sub-human; short-cut their way to success. The cold realities of the "NINA" Signs* were circumvented all completely with the application of the 'Old Blarney' (Gift of Gab) and a lot of elbow grease.With their numbers in the ranks growing, it wasn't too long a time before that the Alderman (or City Councilman) as well as the real "Power Behind the Throne", the Party Ward Committeeman, were Irish also. The only next logical step is to have the Candidate at the top of the ticket as one of their own.In our own home town of "broad shoulders, Hog Butcher to the World, Stacker of Wheat", …..etc., Chicago, there has been a long standing tradition of a Political Organization or, to put it more bluntly, "The Machine." So, that we have seen a number of different Boss Men in charge in the 20th Century.And this isn't to insinuate that all of the Head Guys were Irish; though the leading exponent of Machine Politics was the Late Richard J. Daley, Mayor of Chicago (1955-1976) and Father of our current Mayor, Richard M. Daley. Over the years we've had City Bosses of various pedigrees and even a Republican, Big Bill Thompson, who ran on a plank of keeping the Saloons open and even promised to punch King George V of Great Britain in the nose. West side Political Powerhouse, Anton J. Cermak, a Czech immigrant, took the reins of the organization during a 2 year short-circuited Mayoral Administration (1931-33). He was struck down by the bullet of assassin Giuseppe Zangara in Miami, Florida, February 15, 1933. This was during an appearance with President-elect Franklin D. Roosevelt. The assumption was that the bullet was meant for Roosevelt, but nobody knows for sure.Others to "ascend the Throne of the Organization/Machine were Edward J. Kelly (1933-47), Martin H. Kennelly (1947-51), Michael A. Bilandic (1976-79), Jane M. Byrne (1979-83), Harold L. Washington (1983-87), Eugene Sawyer (1987-89) and Richard M. Daley (1989-Present). Please forgive my relating all of this similarity to Chicago. Enough of this, already, so ……………… OUR STORY Long time Mayor Frank Skeffington (Spencer Tracy) of an un-named Bostonian-type Big City is facing an election after being in office of one form or another most of his life. Being an old pro, and facing challenge from College Boy-upstart, Kevin McCluskey (Charles B. Fitzsimmons), there is nothing that seems extraordinary about this election. So we are to follow Mr. Skeffington all day long during the last stretch of the election.We see it all through the eyes of Adam Caulfield (Jeffrey Hunter) a newspaper man who is assigned to cover the Campaign of his somewhat estranged Uncle. In addition to the Public Man, we get to see the day to day functions of the Skeffington no one ever sees.In addition to regular duties as the City's Chief Executive, All of us are present when he decides on who a new statue in city park shall be made. The Mayor brings in a host of "mourners" for a socially solitary constituent and gets the widow a rock bottom price by using a little City Hall Arm Twisting on Mortician Johnny Degnan; gently reminding him that his business licensing is up for renewal soon. He also garners support he needs from the City's Bluebloods by "appointing" Amos Force, Jr. (O.Z. Whitehead) the nitwit sissified son of Amos Force (John Carradine) to be the new "Fire Chief", complete with Black Mail Photos.The campaign progresses and the public turns Frank out of office. In making concession speech he announces his new campaign for Governor, which would go unrequited as he is stricken with a highly debilitating stroke. Confined to his bed, all of his political allies and some of the old rivals come by to pay their respects. Frank dies.Director John Ford took an excellent adaptation of the novel and transformed it into great film. Use of the archival-like effect of the Black & White was well executed and effective. Ford & writers Edwin O'Connell (novel) & Frank S. Nugent (screenplay) use ironic twist of having Frank Skeffington, Jr. (Arthur Walsh) characterized as a useless, goodtime, Prodigal Son type; having no interest in his Father's Mayoralty or his declining physical condition.One thing for sure though is that Mr. John Ford put together a super talented cast; some of the regulars, others working with him for the first time. These include: Pat O'Brien, Basil Rathbone, Diane Foster, Donald Crisp, Frank McHugh, James Flavin, James Gleason, Ed Brophy, Basil Ruysdael, Willis Bouchey, Ricardo Cortez, Wallace Ford, Carleton Young, Frank Albertson, Edmund Lowe, William Leslie, Anna Lee, and Ken Curtis. Jane Darwell, Ruth Warren, Helen Westscott, Mimi Doyle, Danny Borzage, William Forrest, Frank Sully, Charles Sullivan and others too numerous to name here.NOTE: * The "NINA" stands for "No Irish Need Apply"signs, which were commonplace in our big cities in the mid to late 19th Century.

In the early 1930s John Ford directed a relatively unknown actor in a forgotten film called UP THE RIVER, about prison. After that effort they went their separate ways, Ford usually directing at 20th Century Fox, Republic, and other studios (RKO for MARY OF Scotland), but rarely at MGM. And when he was developing into Hollywood's greatest director, Tracy, after an initially unrewarding period at Fox, went to MGM and became their leading actor-star. But neither managed to find a project to do with the other. Then in 1958 Ford approached Tracy to play Mayor Frank Skeffington, the hero of Edwin O'Connor's novel THE LAST HURRAH. This time, with both director and actor at their peaks, the result was far more memorable than UP THE RIVER had been.O'Connor's novel (a best seller in it's day) was a fictionalization of parts of the career of James Michael Curley, a man who became synonymous with the city of Boston. Boston's laws were peculiar regarding electing Mayors. After some bad experiences in the 19th and early 20th Century, the city decided that Mayors could not have consecutive terms in office - that they could serve as Mayor frequently but (like Grover Cleveland's two terms as President) not one term following another. This was okay with Curley, who ended up the most re-elected Mayor in Boston, serving four terms (each four years in length) over a period of two and a half decades, with a two year term as Governor of Massachusetts as well. A remarkable career for his day or any day. He was corrupt as they come - but he always pointed out that his corruption benefited the public (usually it did). It was like the old Tammany Hall dictum of their Sachem George Washington Plunkitt about good graft and bad graft. Good graft enabled the construction of roads, repairs of streets, public building projects (that were needed), bridges, tunnels, etc. In short, they enhanced or helped the city. Bad graft was like stealing the tin roof of the town orphanage to sell it to a metal dealer! Boston had many improvements under Curley, but plenty of pay-offs. Yet, he was a master at manipulating public opinion. The Irish and other ethnic groups (including Jews and African-Americans) became his voting blocks because the conservative opposition was hide-bound old Puritan - Yankee (and old money), and anti-minority. It worked like a charm for Boss Curley. It got him to the state house. It was only towards the end of his career (when he got involved in a postal fraud) that he went to prison for two years. He left prison and was re-elected Mayor of Boston!The novel emphasized the more "hamish" elements of Curley's success. His ability to have loyal lieutenants (here played by Pat O'Brien, Ricardo Cortez, James Gleason, and Ed Brophy as his gopher "Ditto") and to have loyal friends (even including opponents) like Anna Lee, Wallace Ford (as a crank political rival), Frank McHugh, and Jane Darwell. Even some of his critics like and respect him (even if they don't always support him), such as the Cardinal (Donald Crisp) and the local Episcopal Bishop (Basil Ruysdael). Tracy basks in this warmth, as well as that of his nephew Jeffey Hunter. It's good he has it, as his son (Arthur Walsh) is a total wash-out as an emotional support (the boy just likes dating pretty girls, going golfing, and hearing jazz). Tracy invites Hunter to follow the last campaign. He is smart enough to realize that this mayoralty campaign is the last of the old time, political clubhouse type elections. Tracy has noted the rising media of television and radio, and knows in a few years they will dictate the political future. Ford captures this horrible future well, showing the inept, wooden candidate McCloskey, with his wooden wife and kids (four of them), and a rented dog they don't like, on television. It's a rich film, and a warm one. The villains are evenly dispensed - Basil Rathbone as banker Norman Cass, John Carridine as editor Amos Force, Willis Bouchey as Roger Segrue are a trio of types, but each is different. Rathbone is a patrician, and dislikes Tracy for his background (he represents the loss of the patrician class's power to the lower classes). Carridine simply hates him for a piece of bigoted history on his own family's part. Segrue demonstrates that intolerance can be found in the Catholics as well as the Protestants. But there are differences. Rathbone, fed up with his ally Carridine at one point for his suggesting the banker could have put pressure on Ruysdael on a political matter, shoots a cutting statement that if it was up to Carridine (a former member of the Ku Klux Klan) they'd be burning a cross in the bishop's front lawn!The film ends with Bouchey suggesting that if Skeffington had it all to do he would do it differently. Skeffington smiles, and says "Like Hell I would!". When the novel came out James Michael Curley was still alive, and angry...he threatened to sue. But then he noticed the public liked this friendlier image of himself from the novel. He dropped the lawsuit, and wrote his memoirs. He entitled the memoirs, "I'D DO IT AGAIN!"