The Senator Was Indiscreet

It is hard not to want see 'The Senator Was Indiscreet' with such an eye-catching title, William Powell in the lead, as someone who likes comedy and satire and a very interesting idea for a story. It could have gone the way of being an intriguing and very funny satire. It also could have gone the way of not being sharp or biting enough and being too silly and contrived.

'The Senator Was Indiscreet' luckily was the former. It is occasionally on the silly side, some parts were a bit of a stretch and the surprises are not always there, but a vast majority of the time it's very interesting, very clever and very funny. Really did enjoy 'The Senator Was Indiscreet' a lot, as one can already see, and it is a shame that it is as underseen and overlooked as it is.

One of its best assets is the cast. Powell has seldom been this tongue-in-cheek and he does a marvellous job here. Ella Raines is fetching and amusing while there are great supporting from Peter Lind Hayes and Allen Jenkins.

Also terrific was the script. It was smart, sharp and didn't hold back while not going over the top. It was unusual back then for a film to poke fun at politics and its institutions as directly and cynically as 'The Senator Was Indiscreet', and must have been a shock back then. The story was always absorbing and lifted by great chemistry within the cast, plenty of amusing moments (like with the tissue paper), a lively pace and also a few nice surprises along the way (especially a not so expected ending.

Visually, 'The Senator Was Indiscreet' looks good and it is a shame that George S. Kaufman didn't direct more films after, he does really well here and is at equal ease at the director's helm as he was as a writer/playwright.

Altogether, very enjoyable and sadly not without the credit it deserves. 8/10 Bethany Cox

William Powell, all dolled up in age makeup and a fluffy white mustache, plays a doddering old senator in this 1940s political satire. On the surface, he's an old fool who can be controlled by the party. He has delusions of grandeur about being the next presidential nominee. Underneath, he's savvy and dangerous. He's kept a diary full of illegal backroom deals other members of the party have made the past few decades, and he intends on publishing the diary unless he gets the party's support during the primaries.

Bill, you naughty boy! With a young and impressionable kid, Peter Lind Hayes, and an ambitious reporter, Ella Raines, out to help and hurt him, he doesn't quite know who he can trust. Friends and enemies are all after the infamous diary, and he'll be lucky if he makes it out alive! If you like sarcastic political flicks like Born Yesterday and State of the Union, give this one a shot. You'll see the familiar faces of Hans Conried, Ray Collins, Whit Bissell, and Allen Jenkins, as well as a very adorable cameo from someone who stood by Powell's side in thirteen other movies. . .

It seems that politicians – or, perhaps more accurately, our perception of politicians – have changed very little in the sixty years since this film was released. Not only are they deceitful, power-hungry fast-talkers, but, most worryingly of all, they're not all that bright, either. George S. Kaufman's 'The Senator Was Indiscreet (1947)' is the earliest American political satire that I can recall seeing – though earlier examples almost certainly exist – and the film traipses many of the paths that would be echoed in subsequent films such as Hal Ashby's 'Being There (1979)' and Barry Levinson's 'Wag the Dog (1997).' At the forefront of these films is the complete trivialisation of the political system, portraying politicians either as dim-witted blow-hards or as ruthless power-grabbing tacticians, sometimes both. William Powell's Melvin G. Ashton falls into the former category, a white-haired Senator with more than a few loose screws upstairs. Nevertheless, he possess one vital item of leverage, a diary detailing every nasty political scam of the last thirty-five years, and so his influence is limitless.

William Powell, recently free from the 'Thin Man' series (1934-1947), is perfect as the IQ-challenged Senator with big ambitions. When he's not proposing absurd new regulations – for example, that all Americans should write letters on tissue paper to ease the burden on mail-men – Ashton is publicly and vigorously denying that he will run for Presidential Candidacy. In political terms, this means that he will run for Presidential Candidacy. Party colleague Houlihan (Ray Collins) attempts to talk Ashton out of his ambitions, almost convincing him to enter into a football career, but his persuasion is ultimately fruitless, especially considering the important historical document that Ashton has in his possession. When the coveted diary unexpectedly goes missing, every politician currently in office is thrown into chaos, and personal secretary Lew Gibson (Peter Lind Hayes) is sent to retrieve it, with journalist girlfriend Poppy McNaughton (Ella Raines) snapping at his heels. Even if all this doesn't seem your thing, wait around for the ending, which reveals a pleasant surprise.

'The Senator Was Indiscreet' was adapted from a screenplay by Charles MacArthur {co-author of "The Front Page"}, and the sole film directed by George S. Kaufman, a prominent playwright. There are several classic lines of dialogue ("Don't you think it's time you cut out the part where you laugh at the idea of the U.S. going to war against Japan?"), but the story unfolds fairly predictably. This, of course, doesn't necessarily negate the film's entertainment value, but I'd have liked a more daring degree of satire. The comedy style itself has its roots in the likes of 'His Girl Friday (1940),' but the jokes are more conservative, the laughs are scarcer, and the characters do not speak with the hilariously-frantic overlapping dialogue of Howard Hawks' film. Nevertheless, the lighthearted jibes at politicians are enjoyable, and it's not much of a stretch for the audience to believe that a clueless half-wit like Senator Melvin Ashton might potentially find himself at the doorstep of the White House. Indeed, recent history has shown us that he could even have gone further.

In the "good old days", in this case 1947, politicians were career opportunists and just as self serving and corrupt then as they are now. Happily, in the movies - unlike in real life - we can laugh at the trouble they get themselves into.

After 35 years of serving his state's constituents, senator Ashton wants to be president. And just what qualifications does he offer, asks his scoffing party leader? From a list "mama" found in a magazine, #3 is to have a dog. Ashton says, " I have a dog. I hate the hound. He's bit me 4 times, but I have one." This mild satire kept me laughing from beginning to end. Powell, as expected, is terrific, and Ray Collins stands out among the supporting characters. The "Senator" is not a classic comedy as is "My Man Godfrey", but it's not necessary or possible that every comedy hit a home run in order to be deemed worthy of our time.

This film stands along with "Bringing Up Baby" as one of the most preposterous non Marx Brothers comedies ever filmed. Its plot seems to defy reality, but in looking at the political climate of this era it seems like more of a case of art imitating life.

This art is created hilariously by William Powell who as Senator Melvin G Ashton is the epitome of buffoonery yet due to his political party's shenanigans and the fact that he has kept a diary of those dastardly deeds finds himself as a candidate for President of the United States. When that diary is stolen, the efforts to retrieve it lead Powell from one embarrassing situation to another with non-stop laughs.

Peter Lind Hayes, not known for acting plays Powell's press agent and is very funny. Ella Raines, one of the most stunning women in films, plays a reporter and she's not only very funny but very beautiful. And there's a who's who of character actors led by Ray Collins, Allen Jenkins, Charles D. Brown and Milton Parsons who perform superbly.

George S Kaufman directed the film. He was long known as one of the leading playwrights of both comedy and drama. He won 2 Pulitzer Prizes. He wrote 2 Marx Brothers Films, as well as "The Man Who Came To Dinner" and "You Can't Take It With You". This was his only turn at directing a film. The pace he establishes is frenetic, with dialogue delivered in the Howard Hawks overlapping style.

Stay with this until the very last line. The ending is a pip. In fact the whole film is one