Very very predictable, including the post credit scene !!!

To me, this movie is perfection.

Did you people see the same film I saw?

Although it has its amusing moments, in eneral the plot does not convince.

Capra-corn. This moniker is often used for many of the films of Frank Capra. Are his films a little corny? A little too homespun? Perhaps a bit. But I see them as being a balance on the scales of Hollywood, which has a tendency -- all too often -- as painting Americans as less than admirable people. Of course, some of us Americans are less than admirable, and we see a lot of those types in movies. But some of us are a little corny and homespun. We don't see those folks in many films. So Capra and occasionally other producers and directors toss a few films on the scale to balance out our view of American life.This is a fine film, although not my favorite Capra flick; I prefer "Lost Horizon" and "It's A Wonderful Life". But this is so good. I find the early part of the film a bit slow, but the film continues to build and is ultimately quite inspirational.Gary Cooper is excellent here. As he career matured, and particularly because of "High Noon", we sometimes tend to think of Cooper as a star of Westerns. This film is a good reminder that he was in plenty of other types of dramatic films. In fact, at least for me, it was his films that were not Westerns that I tend to enjoy most. Some people jump to the conclusion that Frank Capra should have used Jimmy Stewart here. I disagree strongly, although I very much like Jimmy Stewart's work. Cooper was perfect for the role. Stewart could have done it, but it would have been that Stewart that we sometime saw as sneering that would have marked a Stewart appearance here.Barbara Stanwyck is also excellent here. In fact, I would have to say this was one of her better roles.James Gleason has the standout supporting role here. I always enjoy him, but here -- as the newspaper editor -- I think he had one of his best roles, and he really shines in the scene where he's drunk...and honest with John Doe.Edward Arnold made a fine villain. I think Walter Brennan got the short end of the stick here. He's too much an old grump in this film; I didn't find him very likable. Spring Byington is here in a small role as Stanwyck's mother; a rather typical role for her. Gene Lockhart has a significant role as a mayor, but gets little screen time. Regis Toomey doesn't have much screen time, but he has a fine role in a supporter of John Doe. J. Farrell MacDonald has a small role here as "Sourpuss", and he's a character actor we never saw enough of. Interesting that Ann Doran has a small, but significant role, but got no billing.

This film came out before the US went into WWII, but at a time when many were awakening to what Hitler and other fascists were doing in Europe. So when the paper editor speaks of the dangers of a "fifth column" it was at a time in our nation when there were active fifth column operations attempting to align with Hitler. This is one undercurrent that was appreciated.The overwhelming story of how common folks can speak to and encourage other common folks and produce a powerful movement was touching. It was not far-fetched either, as it could very well happen with the help of the media. But unfortunately our media rarely promotes "feel good" causes. The power of words is shown, as people can be turned to corporate good or corporate evil by the use of a good spokesman and the right words.I love Gary Cooper, always believable and lovable in his roles. Barbara Stanwyck is also effective. Two great actors and a great plot. I was especially touched in the final scene when the work of Jesus on the cross was referenced as the ultimate story of a "John Doe" dying that others might live. Just a wonderful movie.

"Meet John Doe" would be the finest movie ever made, in my opinion, except for the ending. Director Frank Capra filmed several different endings, and probably chose the best one, but ultimately found them all lacking in some way. I share his view, but even without a satisfying climax, "Meet John Doe" represents the motion picture industry at its absolute best. Gary Cooper is perfect as Long John Willoughby, a homeless ex-baseball pitcher with a bum arm. Walter Brennan turns in perhaps his greatest role, as "The Colonel," a grumpy fellow who calls people "Healots" and utters the memorable line, "I know the world's been shaved by a drunken barber." Barbara Stanwyck, as always, turns in a compelling performance. Capra invariably supplied his movies with a wealth of strong background characters, and "Meet John Doe" is no exception. Regis Toomey, at one time a leading man in the early talkies, is particularly good as Bert the Soda Jerk. The script sets up one of the most intriguing premises imaginable; reporter Stanwyck, in a bid to save her job and build circulation, invents a character, "John Doe," who threatens to jump off the roof of the highest building in town on Christmas Eve, if people don't start being nicer to each other. His column "I Protest," becomes so popular that the newspaper has to produce an actual "John Doe," and Cooper wins the part. Gradually, the naive, well meaning Cooper begins to believe in what "John Doe" is saying, and falls in love with Stanwyck, who has been co-opted by powerful forces, led by the dastardly Edward Arnold, playing the evil tycoon Norton. James Gleason is great here, as the drunken editor who tries to warn Cooper that Stanwyck is a phony. He's perfect for Capra's type of movie, so it's a surprise that this is the only one he ever appeared in. The drama in this film is everywhere; Cooper's affection for Stanwyck, whose hard boiled heart begins to melt, the burgeoning populist "John Doe" political movement, and the uncertain resolution to "John Doe's" dilemma. As it becomes obvious that people are not going to start treating each other better, the question becomes- will Cooper actually jump on Christmas Eve? Does he still believe in an ideology that Stanwyck created, for dishonest and cynical reasons? "Meet John Doe" features Capra's typical dark look at humanity, as exemplified by Stanwyck's deviousness, and the ugly mob mentality of the "John Doe" supporters as they turn on Cooper. However, again as always, Capra turns that pessimistic view into a fairy tale-like optimism, as Stanwyck comes to believe in Cooper and thus her own philosophy, and the mob realizes realizes the error of its ways. In Capra's films, no matter how extensive the corruption appears, justice always triumphs and the little guy always wins. Thus, it was predictable that Capra would choose the happiest ending possible, with Cooper being saved from jumping at the last minute, by an ill Stanwyck and the mob, represented by Toomis's soda jerk and his wife, as Gleason utters the line, "There you go, Norton- the people! Try and lick that!" I suppose there was really no adequate way to resolve a plot line like this, and Capra did the best he could. Regardless, "Meet John Doe" is head and shoulders above almost any other film Hollywood has ever produced.

Three Oscars and some successful films under his belt, socially-conscious auteur Frank Capra wanted critical acclaim. So, using a news article that's been in development hell since the 1920s as inspiration, he and scribe pal Bob Riskin composed "Meet John Doe", a tale that's an earnest testament to the common man.A newspaper, the Bulletin, is bought by an oil company. People are sacked, including ambitious reporter Ann Mitchell (spunky, sweet Barbara Stanwyck). Worried about her mom and two kid sisters, Mitchell quickly gets her job back by writing a phony letter, by a "John Doe" who plans to kill himself on Christmas Eve because he's frustrated with the "cold, cruel world", increasing the paper's profits. Derelicts flood the paper's officers, claiming to be the writer, after hearing prospects of getting food and a job. Only one man is picked for the role: John Willoughby (lean, humble Gary Cooper of "Mr. Deeds Goes to Town), an ex-bush league ballplayer, due to a bad arm.With Mitchell as his speech scribe, Willoughby becomes an icon of hope to American's common people and the hoax becomes a crusade, with the motto: "Love thy neighbor". However, the motto's ready to be twisted by ogre-like oil magnate, D.B. Norton (Edward Arnold of "You Can't Take It With You" and "Mr. Smith Goes To Washington"), who eyes the White House to be conquered by turning by the John Doe movement into a third party. Will Willoughby have the courage and decency to expose Norton while endangering himself? Like other Capra works, "Doe" has the conflict of the little guy fighting the big guy, but this work's deep and honest with that conflict. Capra, to avoid studio interference, formed a temporary studio to finance the film himself. Who could blame him, for the Norton persona is both obviously allegorical (news magnate William Randolph Hearst, Columbia Pictures's co-head Harry Cohn) and prophetic (Rupert Murdoch), with his tactics, politically ambitious and corporate shark-like.Riskin's script is crackerjack, and the actors give it life. Cooper's shy and earnest, matching Stanwyck's boldness and passion. Supporting players are noteworthy; James Gleason's hardboiled as Stanwyck's editor; Cooper's longtime chum Walter Brennan ("The Real McCoys") is a hole-infested misanthropism sack as Willoughby's pal, the Colonel (his "Heelots" speech is funny, sad and thought-provoking); Irving Bacon ("Deeds") provides goofiness as newspaper gopher Beany and Spring Brighton ("Take It") is warm and wise as Ann's mom.Some people today have hijacked elements of Capra's work, emphasizing on moral values while crucifying those who aren't like them. They, like Norton, have forgotten a sense of humility. With humor and drama, "Doe" has that.