Capra's final film, Rendezvous in Space ( 1964 ), was an industrial film made for the Martin Marietta Company and shown at the 1964 New York World's Fair.

She then appeared in Frank Capra's final movie, A Pocketful of Miracles, alongside Glenn Ford.

Colbert was noticed by the theatrical producer Leland Hayward, who suggested her for a role in Frank Capra's film For the Love of Mike ( 1927 ), now believed to be lost.

Early films, including those from the silent era, which feature the station include Traffic in Souls ( 1913 ), which starred Matt Moore ; The Yellow Passport ( 1916 ), starring Clara Kimball Young ; My Boy ( 1921 ), starring Jackie Coogan ; Frank Capra's The Strong Man ( 1926 ), starring Harry Langdon ; We Americans ( 1928 ), starring John Boles ; The Mating Call ( film ), 1928, co-starring Thomas Meighan and Renée Adorée ; Ellis Island ( 1936 ), starring Donald Cook ; Paddy O ' Day ( 1936 ), starring Jane Withers ; Gateway ( 1938 ), starring Don Ameche ; Exile Express ( 1939 ), which starred Anna Sten ; I, Jane Doe ( 1948 ), starring Ruth Hussey and Vera Ralston, and Gambling House ( 1951 ), starring Victor Mature

" His films soon established Capra as a " bankable " director known throughout the industry, and Cohn raised Capra's initial salary of $ 1, 000 per film to $ 25, 000 per year.

Capra also directed a film for MGM during this period, but soon realized he " had much more freedom under Harry Cohn's benevolent dictatorship ", where Cohn also put Capra's " name above the title " of his films, a first for the movie industry.

" That film expressed Capra's patriotism more than any of his others, and " presented the individual working within the democratic system to overcome rampant political corruption.

The film, however, became Capra's most controversial.

Film author Richard Glazer speculates that the film may have been autobiographical, " reflecting Capra's own uncertainties.

It would become Capra's last important film and, although he directed five more films over the next 14 years, his successful years were now behind him.

Although the project had an excellent pedigree with stars Spencer Tracy and Katharine Hepburn, the film was not a success, and Capra's eyebrow-raising statement, " I think State of the Union was my most perfect film in handling people and ideas " has few adherents today.

Although It's a Wonderful Life and State of the Union were successful shortly after the war ended, Capra's themes were becoming more out of step with changes within the film industry and with the public mood.

Biographer Joseph McBride argues that Capra's disillusionment was more related to the negative effect that the House Un-American Activities Committee ( HUAC ) had on the film industry in general.

As for Capra's subject matter, film author Richard Griffith tries to summarize Capra's common theme:

Capra's personal papers and some of his film related materials are contained in the Wesleyan University Cinema Archives, which allows scholars and media experts from around the world full access.

French film historian John Raeburn, editor of Cahiers du cinéma, notes that that Capra's films were unknown in France, but there too his films underwent a fresh discovery by the public.

The film was based on a stage play by Ben Hecht and Charles MacArthur, and along with Frank Capra's It Happened One Night ( released the same year ) is considered to be the defining film of the screwball comedy genre.

In 1944, Ivens made Know Your Enemy: Japan for Frank Capra's U. S. War Department film series Why We Fight.

The film was Capra's last feature, and although it was not the commercial success he hoped it would be, he " gushed about Falk's performance.

With the sound era, films like All Quiet on the Western Front ( 1930 ) ( and its much darker German counterpart Westfront 1918 ), Howard Hawks ' Road to Glory ( 1936 ) and Grand Illusion ( 1937 ), focused on the futility of war for non-American soldiers whilst Hollywood produced American soldiers featuring in World War I comedies such as Buster Keaton's Doughboys ( 1930 ) and Wheeler & Woolsey's Half Shot at Sunrise ( 1930 ), or exciting tales of the U. S. Marine Corps putting down rebellions in Central America, China, and the Pacific Islands in films like Frank Capra's Flight ( 1930 ), The Leathernecks Have Landed ( 1936 ) and Tell it to the Marines ( 1926 film ).

A fifth film with Hepburn came in 1948, Frank Capra's political drama State of the Union.

Frank Capra's Why We Fight ( 1942 – 1944 ) series was a newsreel series in the United States, commissioned by the government to convince the U. S. public that it was time to go to war.

Capra's family was Roman Catholic.

Capra's only prior exposure to films, however, was in 1915 while attending Manual Arts High School.

In many of Capra's films, the wise-cracking and sharp dialogue was often written by Riskin, and he and Capra went on to become Hollywood's " most admired writer-director team.

Nonetheless, Capra's vision about the film's significance was clear:

" Glazer describes how " John's accidental transformation from drifter to national figure parallels Capra's own early drifting experience and subsequent involvement in movie making ... Meet John Doe, then, was an attempt to work out his own fears and questions.

Capra's job was to head a special section on morale in order to explain to soldiers " why the hell they're in uniform ", writes Capra, and were not " propaganda " films like those created by the Nazis and Japan.

His son Frank Capra, Jr. – one of the four children born to Capra's second wife, Lucille Capra – was the president of EUE Screen Gems Studios, in Wilmington, North Carolina, until his death on December 19, 2007.

Capra's " first, last and only choice " for the pivotal role of the eccentric Longfellow Deeds was Gary Cooper.

Noted reviewer Graham Greene was effusive that this was Capra's finest film to date, describing Capra's treatment as " a kinship with his audience, a sense of common life, a morality ..." Variety noted " a sometimes too thin structure the players and director Frank Capra have contrived to convert (...) into fairly sturdy substance.

" Joseph McBride in a later biography notes that Capra's emphasis on theme rather than people was evident in the film ; he also considered the film a financial " debacle.

The song was later used in Frank Capra's propaganda film, The Battle of China.

After World War II, however, Capra's career declined as his subjects were more out of tune with the mood of audiences.

Nonetheless, McBride insists that The Younger Generation " abounds with parallels to Capra's own life.

Film historian Michael Medved agrees with and understands Capra's impressions, noting that he walked away from the movie business because " he refused to adjust to the cynicism of the new order.

Capra's personality when directing gave him a reputation for " fierce independence " when dealing with studio bosses.

Capra's synopsis: " Dealt with who, what, where, why, and how we came to be the U. S. A .— the oldest major democratic republic still living under its original constitution.

For Best Picture and Best Director it lost to Frank Capra's You Can't Take It with You.

Soon, director Frank Capra's association with Columbia would help vault the studio toward Hollywood's major leagues.

Along with Frank Capra's It Happened One Night, also released in 1934, Twentieth Century is considered to be a prototype for the screwball comedy.

* Republic took its original " Liberty Bell " logo from M. H. Hoffman's Liberty Pictures ( not to be confused with Frank Capra's short-lived Liberty Films that produced his It's a Wonderful Life, ironically now owned by Republic ).

The film is a remake of Frank Capra's film of the same name, with a screenplay by Larry Kramer.

Frank Capra's Academy Award-winning movie series Why We Fight, the installments The Battle of China and Prelude to War describe the Tanaka Memorial as the document that was the Japanese plan for war with the United States.

Monty imbued that plot with elements of Frank Capra's 1934 film It Happened One Night and the 1941 Humphrey Bogart film The Maltese Falcon.

Even now, Capra's book, with its nutty denials of what has happened in particle theory, can be found selling well at every major bookstore.

In only his tenth movie, he co-starred with one of the " grand dames of the silver screen ," Barbara Stanwyck, in Frank Capra's critically acclaimed but commercially unsuccessful The Miracle Woman ( 1931 ), and the movie's failure to attract an audience disappointed Capra tremendously.

Along with Marshall Herskovitz, Zwick runs a film production company called The Bedford Falls Company ( inspired by the name of the town featured in Frank Capra's It's A Wonderful Life ).

A vaudeville performer, Taylor made his film debut in 1938, playing cheerful ex-football captain Ed Carmichael in Frank Capra's You Can't Take It with You.

Lister settles down with a woman who looks exactly like Kristine Kochanski in Bedford Falls, which looks exactly like the Bedford Falls in Frank Capra's It's a Wonderful Life, Lister's favourite movie.