Every time I rewatch It’s a Wonderful Life, the movie seems to come at me from a fresh angle. This time, it struck me as an exceptionally rich portrait of its protagonist George Bailey—and one that derives its power from James Stewart’s performance. George isn’t the only well-written character, and Stewart doesn’t give the only good performance (Lionel Barrymore and Donna Reed are often overlooked, but they’re both great). However, the film’s success depends entirely on how well George works as a character. Fortunately, to say he “works” is an understatement.

The film’s first half, which covers the majority of George’s life, is weaker than the second, but that doesn’t mean it isn’t excellent. Here, we see the burgeoning seeds of George’s future conflicts. He wants to travel and see the world, and to do great things as an architect; he loves his family and friends, but he wants more. George’s creeping depression, as bad luck crushes one chance after another to leave Bedford Falls, is evident in Stewart’s morose facial expressions. George loves his wife and takes pride in his father’s business, and he manages to be content. But to an audience privy to his most intimate moments, his frustration is obvious.

Then Potter steals the Building and Loan’s money, and George’s life collapses. Everything he’s worked for is threatened by scandal and bankruptcy. He might as well have left years ago! He struggles to find some comfort in his family, but his rage at his situation overtakes him. He forgets his friends’ value, thinking they can’t help him, and he plans to kill himself. I’m not well versed enough in “actor speak” to describe whatever methods Stewart uses, but he makes George’s despair legitimately painful to watch.

Of course, that’s not where the story ends. Even George at his lowest point can’t bear to watch someone else’s life end, and that fundamental characteristic ends up saving his own life as well. He reaches an epiphany in the crucible of his own personal hell, in which every principle he fought for has failed, and worse, every friendship he forged never existed. Only then does George realize how impoverished his life would have been without human connection.

And that connection is what saves him, in one of the best-earned euphoric moments in all cinema. No matter how dark his life becomes, he will always have his friends and family to pick him up afterwards. Such is the value of human attachment. This homely but universal truth has never been portrayed better, through both the script and Stewart’s spellbinding performance (my favorite of any actor, ever). Despite dated moments here and there, the perfectly executed message ensures that It’s a Wonderful Life will always be a classic.

10/10.