At this point, I don’t even have a goddamn clue on how I can approach yet another review of “It’s a Wonderful Life” without repeating myself like I have in the years past: it’s a film that grows in stature and means so much to me, it’s a film that allows me to reflect on the year and see how far I’ve come with my own personal struggles and realize how happy I am to be here, it’s a film that makes me feel so excited for Christmastime, knowing I can put this on television and watch the magic of it all retain itself after all those viewings, and more importantly, it’s a film that makes me tear up and smile every year – it's almost like clockwork.

I think it’s only fitting that this be the Frank Capra film everyone seems to talk about the most as being his defining film – and I wholeheartedly agree, even if he’s made so many phenomenal films (and I tend to forget about his skill and prowess as a filmmaker when I'm not observing “It’s a Wonderful Life” because he’s truly one of the great and underrated filmmakers and a staple in studying American filmmaking); I mean, this is the man who made “It Happened One Night” and “Mr. Smith Goes to Washington” and “You Can’t Take it With You” and so many other classics we all love, but this is the one that remains atop: inarguably, “It’s a Wonderful Life” is the most culturally universal (with its heartwarming and endearing story, anyone can love and relate to it) of his films and perhaps the best example of Capra’s sentiment.

It’s the culmination of Capra’s style as an auteur; it’s no secret in film history that Capra is the product of a rags to riches story, a true result of believing in the American Dream, and his films – although don’t really mirror Capra’s own rise to stardom, power, and fame – seem to parallel that honesty and hopeful spark and energy about America: Jeff Smith represents the hopeful and ambitious youth to enter politics and remove all the old and corrupt out of office and our lovebirds in “It Happened One Night” represent that love can always be found even in the most unlikely of places. In a weird switch from Capra’s signature style, “It’s a Wonderful Life” opens with a man – the typical Capra-esque man – wanting to die, whose only hope is a 200-year old angel who needs his wings and carries a copy of Twain’s “The Adventures of Tom Sawyer” in his pocket. No wonder this was divisive when it came out: it’s Capra going against type and it’s a film so sentimental that its cheer rubs poorly against the backdrop of the end of World War II, a period of recovery and sadness.

In being against type, “It’s a Wonderful Life” continues its ambitious nature and reveals that it’s perhaps the best example of Capra’s skill; our suicidal everyman is revealed to be the greatest hero in Cinema, doing everything he can for the people in his small town – whether it’s a family member, a friend, or a random citizen – while putting his life on hold to benefit others. It’s no wonder why George Bailey wants to kill himself: he feels as though his impact means nothing to others and feels so alone and used up that no one will help him. But in true Capra fashion, it’s not the case: a man is never alone if he has family and friends to help him through the dark times of life – a true Capra moral. It’s schmaltzy, but it’s something that rings true, especially to me: you’re never alone and it’s okay to ask for help in times of trouble.

I can’t get over James Stewart’s performance, which is his best performance. He plays four different versions of Bailey, all of them convincing and layered and perfect – he should’ve won the Oscar for this film. In one half, we seen George’s naïve nature, one that hardens as the time goes on and he realizes that his time to live has been reduced. We see a depressed man, wanting to remove himself from life and hide. We see George at his most angry and frustrated, spiteful and vengeful for the hand he was dealt with; a hand he would trade for something else in a heartbeat. And throughout all that, George’s joy and happiness at the end is what matters; Stewart is likely the best actor of all time and it’s hard not to think that these moments aren’t his best: he’s both at his most vulnerable and his most honest, no longer a performer but George Bailey, himself. It’s my favorite performance for a reason: it’s a subtle and layer exhibition on one man’s mental state.

Each year, this somehow becomes my favorite film even more: my love for this becomes solidified after each viewing and there’s never going to be a time where I don’t think this is anything less than perfect. Some people argue that “The Adventures of Tom Sawyer” is one of the great American novels and I think that “It’s a Wonderful Life” parallels that: it may be the great American film.

Merry Christmas and Happy Holidays!