There was something about Elmer Gantry that reminded me of televangelist Joel Osteen. Specifically, coming across his weekly sermons on television and mistakenly believing that the slick, business-suited pastor was a typical "get rich quick" motivational speaker. It makes a lot of sense, however, since succeeding in religion calls for the same amount of passion with a bit of bravado required in a traditional money-grabbing venture. The showboating preacher man at the center of Elmer Gantry, dynamically portrayed by Burt Lancaster, carries an Osteen-like vibe: the Man of Faith as Barnum-like showman.

Elmer Gantry had its beginnings as a caustic 1927 novel by Sinclair Lewis. Written during the height of Scopes Monkey Trial-fueled hysteria over teaching evolution in public schools, Lewis dreamt up Gantry as a satire on hucksterism and organized religion. In the book, Gantry is a womanizing college athlete who sweet-talks his way into the church and eventually becomes the manager and lover of Sharon Falconer, a celebrity evangelist modeled on Aimee Semple McPherson (the Joel Osteen of the '20s). For the 1960 film, director-screenwriter Richard Brooks kept the 1920s setting and basic themes of the novel but otherwise did his own thing, concentrating on just part of the book and modifying Sharon Falconer (magnificently played by Jean Simmons) into a basically good-hearted, devout woman who has a crisis in conscience when finding herself falling for the fast-talking Gantry.

For Lancaster, Gantry came as an especially perfect vehicle, since it suited the actor's confident, athletic image so well. In Lancaster's hands, Gantry becomes a fundamentally flawed shyster who can talk his way into anything with a million-dollar smile. In the midwestern town of Zenith, Lancaster's Gantry arrives as an itinerant hobo attempting to make a fast buck. Taking shelter in a black church, he becomes inspired to preach - and gloms onto the entourage of touring evangelist Sharon Falconer (Simmons). Although Falconer and her manager Bill Morgan (Dean Jagger) are initially reticent to allow the man in their inner circle, Gantry uses their naive assistant Sister Rachel (singer Patti Page) to secure a place for himself in their gospel-and-music program. Gantry's fiery sermons galvanize the audience and make him a sensation, prompting the agnostic reporter Jim Lefferts (Arthur Kennedy) to chronicle Gantry and the devout yet non-showy Falconer. Gantry then parlays his own popularity into convincing Zenith's church leaders to band together and rake in more money for themselves and Falconer's operation. Gantry's success eventually comes to the attention of Lulu Baines (Shirley Jones), a manipulative prostitute and Gantry's ex-lover. Baines' seduction and double-crossing of Gantry eventually helps to bring him down, although he emerges from the scandal more resolute in his love of Falconer and supporting her when she achieves her dream of opening a permanent house of worship.

Although overlong and heavy-handed at times, Elmer Gantry apparently impressed enough Academy Award voters to award statues for Richard Brooks' screenplay, Shirley Jones' solid against-type turn as Lulu, and Lancaster's lead performance. The awards were all worthy for this substantial, well-made drama, even if it loses some of its impact upon closer inspection. Although I prefer his work as a similar, morally vague type in 1957's Sweet Smell of Success to this, Lancaster's hard-wired energy is impressive. Gantry went into themes that were already dealt with in Budd Schulberg and Elia Kazan's acidic 1957 masterpiece A Face in the Crowd, but I liked how Richard Brooks turned Sinclair Lewis' barbs into a more even-handed exploration of religion, celebrity and greed. As interesting as Elmer Gantry can be, Brooks made the character of Sister Sharon Falconer even more complex and fascinating. If anything, Jean Simmons' excellent, sympathetic portrayal makes this an enduring movie (surprisingly, she wasn't even nominated for an Oscar).

The Blu Ray:

Video

Kino Lorber's Studio Classics Blu Ray edition of Elmer Gantry presents the film in its original 1.66:1 aspect ratio. While the Eastman Color is a little less saturated than with other film processes of the time, the disc's mastering job satisfactorily preserves the film stock's grainy texture with not too many noticeable instances of dirt and specks. Dark levels appear somewhat wishy-washy at times, but generally it's a sharp, clean looking image.

Audio

The film's original mono soundtrack is the only audio option. It's a decent, relatively clean listen, although it should be noted that the music track is mixed in LOUD, so brassy and intrusive that we needed to have the remote control's volume button handy at all times.

Extras

Not too meaty on the extras, although a new, 12-minute Interview with Actress Shirley Jones is a welcome addition. In the segment, Jones recalls her excitement over being chosen for the role of Lulu, working with her idol Lancaster, Richard Brooks' unorthodox directing style, winning the Oscar, and being grateful that the film allowed her to break out of her wholesome musical star image. A Theatrical Trailer rounds out the extras.

Final Thoughts

It may sport some fine performances across the board, but 1960's Elmer Gantry is Burt Lancaster's show through and through. This acclaimed Richard Brooks-directed drama is shaped by Lancaster's lively, physically imposing presence as an ambitious Depression-era salesman who remakes himself into a fire-and-brimstone celebrity preacher. Kino Lorber's Blu Ray edition overlong but fascinating rumination on the American values of piety and showmanship. Recommended.

Matt Hinrichs is a designer, artist, film critic and jack-of-all-trades in Phoenix, Arizona. Since 2000, he has been blogging at Scrubbles.net. 4 Color Cowboy is his repository of Western-kitsch imagery, while other films he's experienced are logged at Letterboxd. He also welcomes friends on Twitter @4colorcowboy.