Stewart filmed the scene in only one unrehearsed take, and it worked so well, that part of the embrace was cut, because it was too passionate to be approved by the censors. The little piece of film with James Stewart in the background is only the tip of the iceberg of editorial evidence, so to speak. Then there is the superb Lionel Barrymore making the town banker even more of a Scrooge than anyone else could have. Brilliant moments to reflect, is of course the wonderful music film score and especially the ambience audio track enhances of the passing of the cars to the front of the soundstage; partially creating the illusion that they are moving past you.

This couldn't be other than a Capra picture, the humanness of its story the dominant factor at every turn of situation. This audience-resistance effect cripples the modern movie Prelude to a Kiss, in which a light romance suddenly decides it is a strange fantasy halfway through the film and without warning. Hollywood's best-loved star teams up with America's favourite director to create one of the world's most popular films. To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average.Products labelled '*item fulfilled by Exertis on behalf of hmv' will be supplied to you directly by Exertis via their approved couriers. While filming the scene where George prays in the bar, James Stewart has said that he was overcome, that he began to sob during filming of the scene. In one of them, a view right down the middle of main street, a figure appears deep in the center background, running toward us. His direction of the individual characterizations delivered is also distinctively his, and the performances, from the starring roles of James Stewart and Donna Reed down to the smallest bit, are magnificent.

It looks like an unused angle where George is meant to wave and yell 'Merry Christmas' at the building to his right.Frank Capra strove to make scenes as real as he could for the actors, thus the first kiss between Stewart and Reed was shot at the same time, as the other end of the phone conversation with Sam Wainwright [Frank Albertson] on a different set in Wainwright’s New York office at RKO’s Pathé Studio. Despite his yearning to see the world, George has always sacrificed his personal ambitions for the sake of his family and the local community, settling down to marry his childhood sweetheart, Mary (Donna Reed), and raise a family. After George raves at Potter that, “You can’t say that about my father,” George is shown out of the room by his father, then George is shown standing outside the office door.