Best Picture: #17
Original Release Date: May 3, 1944
Rating: Passed
Runtime: 2 hours, 6 minutes
Director: Leo McCarey
Quick Impressions:
My daughter is now beside herself trying to rank these Best Picture winners. (I haven’t even attempted it!) After much agonizing, her top five now looks like this 1) Wings 2) Casablanca 3) Gone with the Wind 4) Mrs. Miniver 5) Going My Way. She must have loved Going My Way, because it bumped It Happened One Night out of her Top 5.
Judging these movies against one another is impossible for me, particularly because I’m seeing some for the first time, when I’ve seen others multiple times before. Right now, Mrs. Miniver is my favorite, but that’s because it was such an amazing discovery, not because it’s necessarily superior to, say, Gone with the Wind or Casablanca.
Going My Way is particularly tricky for me to evaluate objectively because I saw it so many times growing up. My grandma loved this movie. As she would say, “Oh that’s a good one!” She somehow made the phrase “a good one” mean more than the sum of its individual words. From her, the descriptor was high praise. For Grandma “a good one,” meant a film that touched her, one that she could watch again and again, purely for pleasure. As a child, she spent some time in a Catholic orphanage before going to live with her grandparents. She was not Catholic herself, nor was I as a child. I became Catholic as an adult. I think her sojourn there made a great impression on her, though. As far as Going My Way, she particularly loved Barry Fitzgerald as Father Fitzgibbon. His performance is my favorite part of the movie, too. Oddly, he kind of reminds me of Grandma. She would never have seen the resemblance herself, but she was also so cantankerous, and yet so vulnerable.
As a child, I was never crazy about Going My Way. Somewhat ironically, I preferred the sequel, The Bells of St. Mary’s, because I liked the beautiful, strong-willed nun. I say “ironically” because that nun was played by Ingrid Bergman, the same actress I thought I disliked because I couldn’t stand her character in Casablanca. For a long time, I mixed up these two movies up in my mind, scrambled them into one film. I remember on one occasion watching Going My Way with growing impatience. Finally I demanded, “When is the nun coming?” and my mother explained that I was thinking of a different movie. (Then I was really mad, too, because I had wasted all the time I could have spent working on a book waiting for some nun who was never coming. (I’m always working on a book.))
My confusion seems understandable since both films star Bing Crosby as Father Chuck O’Malley, and they came out just a year apart. (In fact, The Bells of St. Mary’s was nominated for Best Picture in 1946.) Writer/director Leo McCarey could have made an entire franchise of Father O’Malley films. (I’m kind of surprised he didn’t. The premise is perfect for indefinite sequels.)
Going My Way is well known to Oscar trivia buffs because co-star Barry Fitzgerald (who kind of steals the movie as the endearingly cranky Father Fitzgibbon) was nominated for both Best Actor and Best Supporting Actor for his performance in this film. (The Academy changed the rules after that, so such a peculiar thing has never happened again.)
The Plot:
St. Dominic’s needs help. Attendance is down, and the mortgage must be paid. To help get the parish under control, the bishop sends Father Chuck O’Malley, a charismatic young priest who has a way with people and the voice of Bing Crosby. Father O’Malley is tasked with the unenviable assignment of taking over from the aging and cranky Father Fitzgibbon without letting the older priest know that he (O’Malley) is actually the one in charge. Father Fitzgibbon built St. Dominic’s, and since he likes things as they are, he initially butts heads with the younger priest and his progressive ways. But soon the dynamic changes, and the two men of God work together to restore St. Dominic’s to a place of functionality within the community. To do this, Father Chuck must sing—a lot!
The Good:
My favorite part of this movie is Barry Fitzgerald’s incredible (double-nominated) performance as Father Fitzgibbon. As a matter of fact, if I’m being totally blunt, without Fitzgerald’s performance, the film is not Oscar worthy. I’ll get into that later.
Going My Way is a pleasant enough watch. Bing Crosby’s sincere young priest, Father Chuck O’Malley, wanders through life, going where he is needed—which is everywhere. The movie shows us that instead of focusing on bringing people into the church, sometimes the Church must go out into the world, bringing Christ’s message to the people where and when they need it most. This kind of community outreach changes people’s lives and touches their hearts. In the end, church attendance goes up, not because somebody yells, “You’d better come to mass, you sinners,” but because a representative of the Church goes out among the people, showing them that God cares about them.
The older priest, Father Fitzgibbon, the man who built St. Dominic’s nearly fifty years ago, has a problem with this particular style of evangelism. He’s used to doing things his way. He’s old, stubborn, tired, set in his ways. The newfangled methods of Father O’Malley jar and rankle him. Curiously, the man who holds the mortgage for St. Dominic’s (which is going shamefully unpaid), financier Ted Haines, Sr. (Gene Lockhart) has a problem with the younger generation, too. He frequently lambastes his son (James Brown) for having no respect for custom and no understanding of the world. Meanwhile, the pious, cantankerous, and judgmental parishioner Mrs. Quimp (Anita Sharp-Bolster) is distinctly alarmed and annoyed by the flagrant disregard for decency she perceives in young runaway/singer Carol James (Jean Heather).
My eleven-year-old daughter had a pretty insightful take as she watched all of these character interactions. “People complain about generations not getting along today,” she said, “Gen Z, versus Millennials, versus the Boomers, but it looks like people were complaining about not understanding the younger generations back in those days, too. This must always happen.” And I was like, “Whatever.” (Just kidding about that last part.) (As I typed that, I called to mind Queen Elizabeth I railing against “new-fangledness” in religious observance.)
Going My Way is very much about looking for common ground and creating relationships based on mutual respect that can grow into understanding. Crosby’s character approaches everyone this way, reaching out to them when and where they are in need, looking for common ground. Instead of saying, “You need to be like this,” he asks, “This is how you are, is that right?” Instead of one-sided preaching, he begins a conversation, which is definitely a long-respected approach to both evangelism and theology itself.
I don’t think the film’s titular song “Going My Way” is the smashing success that it should be. (The film would be stronger, overall, with a better song, in my opinion.) But it does pretty clearly (and in a palatable way) express Father O’Malley’s philosophy. He’s going a different way from the crowds. (The use of the word “way,” is good. I’ll give the song that, since it immediately makes of think of Jesus saying, “I am the way.) He’s going a way that will bring him true happiness, doing what he believes is right. And as he passes each person, he asks, “Excuse me, are you going my way?” and seeks out commonality, finding ways in which they may go along together. It’s a nice metaphor. (Not a great song, but a nice metaphor.) The reason the song works is because Bing Crosby sings it. Father O’Malley has exceptional musical talent and has decided to use his God-given talents to do God’s work. In other words, he uses his gifts to give back. By living this way, he provides people with an excellent example, probably much more helpful to them than sermons they are not hearing because they haven’t gone to mass. Father O’Malley simply goes where he is needed, and everyone needs him. We all need each other. By interacting with people in a genuine and caring way, by appealing to their better natures, he inspires the best in them. But tactics like this are controversial even today. (They were always controversial. It’s easier to yell at people than to approach them on their own terms with an open heart yourself.) (That’s not to say, though, that there’s no place for yelling at people, too.)
Watching with my daughter, I thought often about how although generational conflict may feel particularly urgent at this moment, it really is not new. Likewise, religious controversy about how best to approach sin and sinners and the process of evangelization—we argue about the very same types of things today that we did in 1944. But these thoughts only further drive home the movie’s message—kindness is never the wrong choice.
For me, the “let’s help out the struggling community” aspect of Going My Way feels really overdone in general because by this point, about twenty thousand movies with a similar theme exist. Before we watched, I told my daughter, “It’s kind of like a cross between Sister Act and Sister Act II. You’ve seen Sister Act, right?” And she answered blankly, “No.” For her, that aspect of the film was a bit fresher. (I don’t even think she’s seen Dangerous Minds or Boys Town or To Sir, with Love or Stand and Deliver or like…any movies like this at all.) So for her, this type of story is more novel.
I do like Tony Scaponi (Stanley Clements) (mainly because his name is Tony Scaponi), and it’s great that the kids are going to stop stealing turkeys and start a choir instead. But I don’t feel too emotionally invested in any of that. It’s not the movie’s fault. It’s the distance between me and the movie. (Also, in 2020, hearing, “Hey neglected boys, don’t get into mischief. Instead go down into the basement with this really nice priest who gives you special favors, buys you things, takes you places, and spends lots of time with you,” does have kind of a different ring to it. I realize that Father O’Malley is not abusing the boys. And I’m a Catholic myself. I’m not against church choirs. I just know that when my daughter is in RE, they always (by rule) must have two adults present in the classroom, never just one, and there’s a reason for that.)
But (what I’m getting to is) what the years haven’t changes is the effectiveness of the scenes with Barry Fitzgerald as the aging Father Fitzgibbon. Every moment of his emotional journey still resonates today. It’s an absolutely magnificent performance. Fitzgerald brings the older priest such vulnerability. Even his curmudgeonliness makes him cute. But he’s never reduced to a caricature. We feel such admiration for the work and sacrifice of this man, who has dedicated his life to God and has done such great things in his time. We can also relate to his weaknesses and to his diminished position. And it hurts our hearts to see him humiliated, not that he ever is truly humiliated. Instead, he’s humbled by circumstance and graciously chooses humility. He’s a gracious man to the end. What’s particularly gratifying about Father O’Malley’s new method of outreach is that it extends to Father Fitzgibbon, champion of the old guard. Not only does O’Malley not humiliate Fitzgibbon, but he raises him up. This is a gift that Father O’Malley has. He is able to find common ground with everyone, to bring out the best in everyone. So he doesn’t repudiate Father Fitzgibbon’s old ways when things must change. Instead, he brings the older priest along. Both men end up honoring each other. You know, in fact, the dynamic between them reminds me of The Two Popes, another feel good film that shows two people with different mindsets finding common ground and working together (and the dialogue is just as fictional, too, the invention of a screenwriter).
As written, Bing Crosby’s Father Chuck sure is a great guy (and boy can he sing!), but it’s Barry Fitzgerald’s exceptional performance that gives the film enduring greatness. His turn as Father Fitzgibbon is heart-breaking, relatable, and sweet.
Best Scene:
The most moving scene in the film is Father O’Malley’s parting gift to Father Fitzgibbon. My daughter was just complaining that even though she found elements of the story touching, she couldn’t cry for some reason. Then the ending happened, and suddenly she bawled for ten minutes, and Going My Way bumped It Happened One Night right out of her top five. The ending really makes the film. Even though elements of Going My Way are a little shaky, that ending is the last thing you see, and it gives you such big emotions that you basically forget any small imperfections.
Best Action Sequence:
All the best moments in this movie belong to Father Fitzgibbon. The sequence that unfolds when the older priest goes to make a complaint to the bishop is, up to that point, the most gripping part of the film. It’s so moving. (The screenwriters deserve credit here, too, for a remarkably effective use of dramatic irony.) Barry Fitzgerald definitely deserved that Oscar.
Quite good, too, is the later scene at the golf course. The developing relationship between O’Malley and Fitzgibbon is so touching.
Best Scene Visually:
That turkey dinner gives us more dramatic irony. (Poor Father Fitzgibbon! He means well!) I also like the moment near the end of the film when we see a particularly stunning and (alarming) development.
Best Song:
It’s definitely not “Going My Way.” I don’t quite understand why the film focuses so much on that song. The more they perform it, the less I like it. My daughter commented that she liked it best when Bing Crosby sings it alone, and I quite agree. (Opera star Risë Stevens is undoubtedly as great a talent as Crosby, but the song isn’t very good in that style. Her performance in the film is quite good, though.)
I was going to say “Going My Way” isn’t a very catchy tune, but I just noticed that I’m humming it right now. Similarly, I was going to say that the lyrics aren’t memorable, but I’m singing them right now. (Literally, as I typed the sentence, I was crooning softly, “Dreamers’ highway!”) But I do not think that the lyrics are effective in the way that the movie pretends that they are.
The young singer (Jean Heather who reminds me so much of Debbie Reynolds) is incredibly moved by Father O’Malley’s serenade not because of what the song says, but because a kind, understanding priest is taking the time to sing to her. She’s obviously already a bit ashamed of herself (because of societal pressure). The action Father O’Malley takes in performing the song for her, the way he shows her that they are friends and that she can live his above-board life, that’s what’s moving, not the song itself.
I’m not sure why the film focuses so much on the titular song when “Swinging on a Star” is far, far catchier (and gets bonus points for reminding me fondly of Hudson Hawk). “Swinging on a Star” actually won Best Song that year. Good job, Academy.
It’s also always nice to hear Bing Crosby sing “Ave Maria” and “Too-ra-loo-ra-loo-ral.” “The Day After Forever” is a good song, too. My mother sings that all the time. I’m not sure why. I seem to remember her playing it on the piano at one time.
The Negatives:
Barry Fitzgerald probably deserved two Oscars for his film-anchoring performance as Father Fitzgibbon. I’m mildly surprised that Bing Crosby also won Best Actor. I don’t see much in his performance, but that possibly comes from the distance of time. Crosby is so iconic, so familiar. It’s hard for me personally to muster much enthusiasm for yet another instance of Bing Crosby singing and acting like Bing Crosby. He certainly does have a marvelous voice. (My mother prefers it to Frank Sinatra’s voice. I disagree and strongly prefer both Sinatra and Perry Como to Crosby.) He’s easy on the ears, no doubt. Nobody else sounds like Bing Crosby. As a vocalist, he’s both outstanding and distinctive. But he makes being him look so easy. As written, the movie positions Father O’Malley as a good guy, and he is charismatic and all. The performance Fitzgerald gives feels much more special to me, though.
But these thoughts of mine do give me pause. When I review current movies and pay attention to Oscar seasons unfolding in real time, I always get upset when people argue that someone doesn’t deserve an Academy Award for a role that is mainly just performing songs. I remember being particularly annoyed with people who didn’t like the idea of recognizing Jennifer Hudson’s performance in Dream Girls. The argument was that she was unproven as a dramatic actress and basically just “sang that one song.” People knocked Lady Gaga’s performance in A Star in Born on similar grounds. In me, such talk always provokes the response, “Okay, then, let’s hear you get up and sing it.” Acting through song certainly is acting! And if someone gets done singing a song, and you find yourself sobbing and trembling, then I guess they’ve done a pretty good job! The Oscar isn’t for your resume. It’s for a particular performance (ostensibly; I know it rarely plays out that way).
So I guess Bing Crosby does deserve an Oscar for singing like Bing Crosby. If I were watching the film in 1944, I would probably be elated by his win.
The other thing that bothers me about the movie is the leisurely, episodic way the story progresses. We follow Father O’Malley around and see him touch so many lives, and he has such a casual manner. He’s just singing his way all over town. Sometimes I found myself wondering, “Did we really need to sing our way into this particular scene? She’s a marvelous performer, but why are we watching Carmen right now?” (To be fair, though, there is a reason we see that scene at the opera house. We see what Chuck O’Malley has given up. It’s not just that he could have had a beautiful, talented wife. It’s that all the acclaim she gets as a professional opera star, he could have had for himself. He is exceptionally musically gifted, as well. And then, of course, we see that he hasn’t lost Jenny. On the contrary, he inspires her to do good things that help the parish and the entire community. So, actually, he’s gained something.)
But I must admit that the ending packs a punch emotionally. So I do think the unusual method of advancing the story works because it’s not a film about events. It’s a film about people.
One small, grievance, though. I agree that Father O’Malley has done a good thing in getting the kids to stop behaving like juvenile delinquents. Has he really created a choir, though? Mostly, the kids go, “Ba,” at different pitches to accompany the singing of Bing Crosby or an opera star. When they do sing solos themselves (like during the performance of “Swinging on a Star”) they basically just talk along to the music. That’s all well and good if you’re Rex Harrison, but I’m skeptical about the talents of this highly touted boys’ choir. (Also, where are all the girls in the parish? Home cooking stolen turkeys?) Now granted, I guess this is a way of showing us that when we all come together to worship God, we can do great things. If our hearts are in the right place, we enhance one another’s talents. (I don’t know, though. I mean, in Sister Act all of those nuns can sing!)
Overall:
Barry Fitzgerald’s riveting, touching performance as Father Fitzgibbon makes Going My Way a great film. That kid Bing Crosby’s a pretty good singer, too, and right now is a great time for a feel-good film with an uplifting message. I’ll bet audiences in 1944 felt the same way!