User Reviews

"Elmer Gantry" is an amazing film that does not seem dated at all, having lost none of its bite or appeal with the passing of time. Taken from the classic Sinclair Lewis novel of the same name, director Richard Brooks garnered an Oscar for Best Screenplay for his adaptation, and Burt Lancaster won his sole Best Actor Oscar for his performance as Elmer Gantry. Gantry is an over-the-top opportunistic traveling salesman who teams up with evangelist Sister Sharon Falconer (Jean Simmons) to promote religion in 1920's America. Gantry turns out to be the perfect publicity compliment to Sister Sharon, who, unlike him, is a true believer. Where she is quiet and gentle with her manner of preaching, he is all fire and brimstone, literally throwing himself about the audience and inflaming them into repentance.

Burt Lancaster commands the screen: all flashing teeth, athletic energy, charisma, and wild hair, using his own physical prowess to great advantage. The angelic and lovely Jean Simmons, who had legions of adoring male fans when she was in her ethereal prime, portrays Sister Sharon (loosely based on a well-known real-life revivalist of the early 1920's, Aimee Semple McPherson, about whom I'd heard from my grandmother) in a manner reminiscent of her character in "Spartacus" - she was the perfect choice for this role, as was Lancaster for his.

Shirley Jones was awarded the Best Supporting Actress Oscar for her lively portrayal of prostitute Lulu Bains, whose past history with Gantry comes back to haunt him, with some of the best lines in the film - gleefully laughing as she dances about a room full of her fellow prostitutes, she recounts that "He rammed the fear of God into me so fast I never heard my old man's footsteps!" Watching Burt Lancaster in his prime use his athletic ability (he was a circus acrobat before he became an actor) and physical grace helps make his performance truly electrifying. And he also manages to believably evolve Elmer Gantry from loud-mouthed salesman to a sympathetic and honest human being over the course of the film.

The top-notch supporting cast includes Arthur Kennedy, Patti Page, Dean Jagger, and John McIntire.

And there was light---9/10.

All you need to know about the character of Elmer Gantry is neatly summed up in the first 10 minutes of the film. The film opens as we see Gantry holding court around a table in a bar, telling jokes and anecdotes of sexual conquests one minute, and then the next minute is helping out two wayward parishioners by passing the hat around the bar and preaching in earnest the word of God. Lancaster plays out the duality in the role of Gantry as everyman/ preacher brilliantly throughout the film. We're witness to his meteoric rise within the ranks of the religious road show, we see his stumbles within those ranks and his eventual fall from popularity to an even more impossible grace under fire (literally), but most importantly we see the ability of his character to serve both his rise and fall in ways truly unexpected.

Gantry finds that there are many who will listen to him wax eloquent on the bible. But when Gantry sees Sister Sharon Falconer (as played by Jean Simmons) he forgets about getting closer to the lord and decides to ingratiate himself into her 'inner circle'. Gantry can see that the 'old time religion show' is a soul saver on Sunday, but quite a moneymaker on Monday. There are 'two very different' Gantry's, the one who has a lifetime of sexual anecdotes and the other who's true love is for the bible. What we are not in store for is the third Gantry; the one in love with Elmer Gantry and his own voice. In any case, Gantry sees a golden opportunity to satisfy all three Gantry's and he goes for it. Through his ability to con and sweet talk his way to the top, Gantry makes all of the right friends and maneuvers himself to a spot underneath Sister Sharon Falconer.

Gantry's fall comes in the form of Lulu Baines (as played by Shirley Jones), a prostitute with a past history with Gantry. As Gantry's popularity on the 'road show' circuit starts to hit its zenith, Baines appears into Gantry's life once again as she sets up Gantry for blackmail. How Gantry deals with Baines and the loss of trust from Sister Sharon is one of the best moments from the film. And although her time on screen doesn't come close to matching that of both Lancaster and Simmons, it is the performance of Jones in one scene that practically steals the show. Jones' speech to the ladies in the brothel about Gantry "Ramming the fear of God so fast" into her was exhilaratingly fun and mildly erotic. I would think it was largely this scene that got her noticed by the Academy in 1960.

However great Lancaster is as Gantry (Oscar winning performance) and spectacular Jones is as Baines (another Oscar winner), let us not forget how easy it would have been for this movie to have THREE Oscar WINNERS!!! Yes, Jean Simmons was robbed by the Academy that year. I think there are at least three reasons as to why Jean Simmons was not given the Oscar that year. One is the brutally lame ending to the movie. Sister Sharon is left to walk about the fiery inferno of her newly built church, while everyone around her is knocking her to the ground trying to escape. Sister Sharon is oblivious to human stampedes and is more concerned in urging everyone to remain calm. A performance that must not have been lost on John Landis when he made Kevin Bacon reprise it in 'Animal House' some 18 years later (sans the fire). It was a shame to see her babbling like an idiot while certain death surrounded her. That's one reason, but the other two reasons are probably more to the truth. You see, Jean Simmons wasn't the only actress who can claim to have been robbed on Oscar night, so could Shirley Maclaine. The Oscar could have gone to either one, but if it had gone to Jean Simmons, The Academy would've had a hard time giving any award to the 'The Apartment' or its director Billy Wilder. How could 'Elmer Gantry' win three of the four main awards yet not walk away with the Best Picture? It's also been said the Academy felt bad for Elizabeth Taylor as she was not only recovering from the recent death of her husband, Michael Todd, but also that she had just needed an emergency tracheotomy only weeks before the awards. However, one point should be clear, Elizabeth Taylor never should have won the Oscar over the performances that year from Simmons or Maclaine.

Another performer from the movie who gives a great performance is Arthur Kennedy as Jim Lefferts. Lefferts is the skeptical newsman who follows the 'road show' waiting to see a miracle or perhaps to see many a false prophet fall. One scene that stands out is the scene where Lefferts is dictating an article on the exploits of Lancaster and Simmons' religious road show. While he is dictating he is also absent-mindedly sharpening a pencil. As Lefferts comments become to take on more of a cynical tone, the pencil in his hand also becomes sharper. Once Lefferts is through with his thought, the pencil has been sharpened to a fine point and his thoughts are ready for print. He writes, "Is it a church, is it a religion or is it a circus sideshow complete with freaks, magic and rabble rousing?

This is a fine film with a slightly disappointing ending. I can't accept that the errant fling of a cigarette can flash through the heavens like a message from God, but if ever a bolt of lightning was captured onto the silver screen, it was the bolt from Burt Lancaster as Elmer Gantry. 9/10.

Clark Richards

Based on the muckraker Sinclair Lewis' novel, and superbly translated to the screen by Richard Brooks (In Cold Blood , The Professionals, Cat on a Hot Tin Roof), this story of huckster-ism by religion is a masterpiece.

Burt Lancaster player the greatest role of his career, getting his only Oscar for his performance. Lancaster, so good in such films as From Here to Eternity, Atlantic City, and Seven Days in May, was spellbinding as the salesman for God.

Shirley Jones (The Music Man, "The Patridge Family," was simply delicious as Gantry's first conquest, and now a "five-buck hooker," that he left behind: "Oh, he gave me special instructions back of the pulpit Christmas Eve. He got to howlin' "Repent! Repent!" and I got to moanin' "Save me! Save me!" and the first thing I know he rammed the fear of God into me so fast I never heard my old man's footsteps!" 1960 was a great year for movies, and this was certainly one of the best of that year, and one of the best of all time. If you want to see real acting, this film should be on your "must-see" list.

I give this movie a 10 only because there is nothing above that.

I first saw this movie as a kid on TV not that long after it came out. It hasn't aged one bit. That it came out the same year as Inherit the Wind, another masterpiece, is interesting but not surprising. Hollywood was turning the spotlight on the dangers of religious fundamentalism that have since become far more powerful in this country.

Everything about this movie is first rate. Lancaster's acting isn't acting; it is better than that. He simply becomes Gantry, and you believe in him - as he believes in himself, from time to time - completely. The script is powerful, the directing first rate.

This is one of those movies that I sit down and watch when it shows up on TV, no matter how many times I have seen it before. It really is one remarkable movie.

Elmer Gantry the novel came out in 1925 and it took 35 years to get it to the screen. But it certainly was worth the wait. The movie provided Burt Lancaster, Shirley Jones, and Richard Brooks all with Oscars and it has become a classic. But we sure view it differently 80 years after the book and 55 years after the movie debuted.

Inherit the Wind and Elmer Gantry came out in the same year and both were set in the Twenties. Both dealt with fundamentalist religion and the power it held. Both films got Oscar nominated for best film and for Best Actor for it's first billed male player.

In 1960 when you saw both films they were viewed as tales of a bygone era. Evangelists like Elmer Gantry and Sister Sharon Falconer have the kind of power that thankfully we don't give the fundamentalist community now. Even seeing film clips of Billy Sunday and Aimee Semple McPherson, they seemed quaint and old fashioned. Fortunately we'd outgrown the nonsense of that era.

But Sinclair Lewis proved to be a prophet. No one could ever have dreamed in 1960 that fundamentalist Christians would have the political power they do today. What Lewis if he were alive today would do with Pat Robertson, Jerry Falwell, John Hagee and the rest of that crowd would really be something. Elmer Gantry is alive and well. Some might even call it a resurrection.

And Elmer's a part that comes once in a lifetime to a player. Liar, conman, womanizer and likable on top. You've got to be a real extrovert to play that part. So Richard Brooks got perhaps one of the biggest extroverts ever to hit Hollywood.

Burt Lancaster was born to play Gantry, in fact he'd had something of a dress rehearsal in the part in The Rainmaker. During those sermon scenes, some of which are taken from Billy Sunday's actual sermons, you know he's giving out with nonsense and you still get taken in by his charm. Note the relationship between Lancaster and agnostic reporter Arthur Kennedy. Kennedy knows he's a conman, but still they get along just great.

It was a shame that Jean Simmons was neglected by the Academy for her portrayal of Sharon Falconer. Sharon is a true believer, but she's also a romantic as the real Aimee Semple McPherson was. And the woman had needs which Elmer is only too glad to fulfill.

The real Aimee was also an outrageous character herself, but I believe a decent soul at heart. During the Depression, her tabernacle set up a soup kitchen that fed thousands. In fact Anthony Quinn, growing up in Los Angeles at the time, recalled in his memoirs working for his and his family's supper as a volunteer there. Quinn had nothing but praise for Aimee, she was the difference in whether his family ate or not on many a day.

Shirley Jones got a career salvation with her Oscar winning role as Lulu Baines, prostitute who's out for vengeance. A fine singer, she came along unfortunately when musicals were winding down. That Oscar for Best Supporting Actress insured a continuing career for her.

Arthur Kennedy as the investigative reporter is whose perspective we view the film from. He'd had five trips to the Oscar World Series without a victory, might have been nice if this one had been a sixth. His is the voice of reason, of true compassion, of truth in fact the voice of Sinclair Lewis himself.

Another of Sinclair Lewis's great characters, George F. Babbitt, makes an appearance. Edward Andrews got probably his career part as Babbitt, hypocritical businessman to the max. He was as born to play Babbitt as Lancaster was to play Gantry. He could also have been given an Oscar nomination.

Elmer Gantry is a great film, a prophetic film, proving it sure can happen here.

In "Elmer Gantry," Burt Lancaster gives one of the all-time great screen performances. Lancaster's performance is so rich, so real, that the viewer knows this man, knows what Gantry smells like (sweat and eau de cologne) and what he eats (big slabs of beef). I can't say I've ever seen anything quite like it. Gantry's entire repertoire is performed with encyclopedic thoroughness and accuracy. We see Gantry the narcissistic conman, Gantry the philanthropist, Gantry the flamboyant showman.

Just when we think we've seen it all, just when we think we can write Gantry off as a cross between a clown, a self-deceiver, and a blowhard, the movie reveals another nuance in Gantry's soul – something we'd never seen before, and yet realize is totally believable, and, in fact, essential to understanding the man. Our views of the man change. We can't help but love him.

One such scene: almost 75 % of the way through the movie, in fact, after a shorter and shallower movie would have ended, Gantry says to another man, "Don't you know that that hurts?" in a voice we haven't heard him use before. Lancaster is breathtaking in this, the film's quietest line reading. Lancaster is so magnificent in this, his Oscar-winning role, that you have to wonder if he is not calling on much of his own character, as a charming, larger-than-life Hollywood star, to play the charming, larger-than-life star of tent revivals. IMDb trivia notes claim that Lancaster received a letter from a childhood friend saying that Lancaster's performance as Elmer Gantry reminded him of the Lancaster he remembered from real life.

The rest of the cast is also superb. Jean Simmons is domineering, spiritual, spooky, and lustful, by turns. Shirley Jones is heartbreaking as a doomed woman. Arthur Kennedy is perfect as a skeptical journalist. Dean Jagger perfectly times and pitches his paternal air, his outrage, and his surprised forgiveness. Patti Page is poignant as Sister Rachel. Edward Andrews is the embodiment of a sanctimonious, ambitious, brothel owner.

This film addressing religious corruption, lynch mob mentality, and illicit sex was made under strict rules of censorship. There are no four letter words, no naked breasts, no bleeding wounds. And yet this film raised goose bumps in ways that more explicit movies only wish they could. A crowd brays for blood; a man pulls a horse whip out of a paper bag and cracks it. Refuse is thrown at a man, and what looks very like maggots. A police officer arresting a prostitute says "You wouldn't believe what I caught this one doing." A virgin is taken under a building by a man who has practically hypnotized her. Wow! "Elmer Gantry" is critical of Christian revival meetings that were popular in the rural south and Midwest in the early decades of the twentieth century. Its indirect targets were understood to be the historical figures, Aimee Semple McPherson and Billy Sunday. Some Christians might avoid the movie for this reason. That would be a mistake. The movie is ultimately very charitable to all of its characters, even Babbit, the brothel owner. Like Gantry himself, the film sees humanity in all its beauty and ugliness, understands, and forgives. This is no black/white, two-dimensional screed. It's a complex exploration of complex behaviors, longings, needs, desires, ambitions. A woman can be a virgin dedicated to God and also a lover who empties sand out of her high-heeled shoe after a night of illicit passion on a beach. A villain who contributed to the ruination of a young woman's life can redeem himself through application of biblical concepts of humility and forgiveness.

Too, the flimflamming "Elmer Gantry" skewers is not limited to churches. There is a charming narcissist of uncertain background on the world stage today who, like Gantry, attracts chanting crowds, causes women to faint and men to believe in a national renaissance. This particular charismatic public speaker is not a religious leader, but a candidate for the presidency. The speaker who wows crowds, the crowds who yearn to surrender themselves to a putative messiah, are forever with us. That being the case, "Elmer Gantry" is a film that will never lose its relevance.

Good drama that had the potential to be one of the greats.

The setup for this movie was interesting, and made you think there was a clear, focused message coming as some stage. The movie was set up to rail against religion as a business, how some people use religion for their own ends, and how easily people can be manipulated in the name of religion. There was also an opportunity to look at the influence of the media.

However, from a point the movie lost focus. The snake-oil salesman turned out to have redeeming qualities, turns out religious organisations can do some good, the bs-printing newspaper printed the truth for once...

It's as if the writer and director pulled their punches. Rather than a damning expose of certain religious organisations, it is a story of a man, a man with good and bad qualities. No particular message in the end, and very disappointing in that respect.

Still made for an interesting story, just not anywhere near as brilliant as it could have been.

Mesmerizing, powerful performance by Burt Lancaster in the lead role. There's a fine line between powerful acting and over-acting. Lancaster comes close on several occasions, but doesn't cross it. He well deserved his Best Actor Oscar.

Solid support from Jean Simmons, Arthur Kennedy and Shirley Jones. Jones won a Best Supporting Actress Oscar for her role as Lulu Bains. Not sure it was THAT good a performance, but she sure did look good delivering it...

It's the prohibition era. Elmer Gantry (Burt Lancaster) is a slick traveling salesman who is a boozer and a dog hound. He is a born salesman well versed with the bible. He is so good that it is hard to tell the difference whether he's sincere or lying. He is one haunted by his checkered past and his immorality. He is taken with Sister Sharon Falconer (Jean Simmons) who runs revival meetings. She's a true believer. He badgers her until she allows him to preach. He becomes so successful that he becomes indispensable to Sister Sharon's roadshow. Bill Morgan sees thru Elmer and tells Sharon that in 1917 he was expelled from the seminary for seducing the deacon's daughter. She ignores the warning and they become a great success in the big city. Then his past comes back to haunt him in the form of Lulu Bains (Shirley Jones) who is now a prostitute.

Burt Lancaster gives such a big performance. It is so big that it always has a tinge of falsehood. His laugh is so outrageous that it plays both sides of the divide. It's this big performance that is so memorable. Jean Simmons is the perfect compliment. She is the embodiment of purity of spirit. Burt definitely deserves his Oscar win. I can see some people taking offense from the depiction of religious revival. However I see a great role model in Sister Sharon. It's also a tale of salvation for Elmer Gantry.

Probably the most significant thing to know about this film is that the story is set in 1927. Given, too, that the film's production was 1960, we can say that "Elmer Gantry" does not reflect the current, 21st century, state of religious fundamentalism in America. The film is basically how Hollywood, in the late 1950s, viewed tent religion in the early part of the twentieth century.

Given that the Production Code, with its moral censorship guidelines, was still in force when the film was made, the script is a sanitized version of the Sinclair Lewis novel. Hollywood thus tries to straddle the fence in its faith vs. no-faith theme, and render characters as merely flawed, not evil.

Thus, vacuum salesman Elmer Gantry (Burt Lancaster) may be slimy, deceptive, hypocritical, scheming, and manipulative, but he can also recite lines from the Bible. To make him any more diabolical would have angered a majority of viewers in 1960. Similarly, Sister Sharon (Jean Simmons) may collect money from those who go to her revivals, but it's to pay the bills and all the logistics necessary for her ministry. Further, she seems so sincere and, seemingly, can render miracles.

We can thus forgive Hollywood for taking this approach to the story in 1960. At that time, nobody could foresee how self-serving and hateful religious fundamentalism would become in politics in the latter part of the 20th century. After all, Sister Sharon talked a lot about "love", not hate.

The film is quite grandiose, a big-scale production, well over two hours in duration. Scenes are lavish in scope, heavy on dialogue, and visually robust, no doubt a carryover from those big screen sword and sandal epics of the 1950s. As such, the story seems contrived. Performances, especially that of Burt Lancaster, seem exaggerated.

As a big, splashy Hollywood production, "Elmer Gantry" is okay, except for its length, its contrived story, and its exaggerated performances. But it doesn't reflect modern religious fundamentalism. For that, a more realistic, and relevant, movie is "Marjoe" (1972), about a child evangelist. And "Marjoe" is not contrived at all; it's a true story.

From the exceptionally talented pen of noted author Sinclair Lewis comes this entertaining story of a fast-talking, yarn-spinning vacuum salesman with the natural gift of persuasion. In his ever lustful sights is a voluptuous female preacher. In order to conquer her, he must use his extensive repertoire of biblical quips, quotes and bawdy antidotes. Within the sphere of a traveling troupe of bible beating, evangelicals on a religious crusade, the author's hero, one Elmer Gantry (supurbly played by Oscar wining Burt Lancaster) is as energetic as his tales. Although it's difficult to know if Gantry's spiritual motivation is genuine or merely a ploy, throughout the film, one is kept guessing. The target of his earthly desires is Beautiful Sister Sharon Falconer (Jean Simmons) a sincere, but fallible woman out to build a ministry. A serious obstacle to her goal is Gantry, but more so is the cautionary and caustic pen of Jim Lefferts (Arthur Kennedy), a Pulitzer Prize winning journalist who questions the personal and financial motives of her entourage. Her main supporter is worldly William Morgan (Dean Jagger) who believes in Falconer, and sees Gantry and Lefferts for the opportunistic impediments they are. The film is a triumph for Lancaster and Kennedy and for all those who wish to visit a confusing period of Americanna, when the word of God was infected by preachers, pushers and spiritual leeches. ****

The growth of fundamentalist Christianity in contemporary America is a source of bafflement to those who just don't get it; including, by and large, the movie industry, which may like to end its films with sanctimonious moralising, but which usually reserves the right to serve us substantial portions of sex and violence beforehand. Mel Gibson aside, you don't expect to see a sympathetic portrayal of religion in the movies; from 'Night of the Hunter' onwards, the dodgy preacher has been a more common character than the saintly one, and there's another kicking for the born-again movement in 'Elmer Gantry'. In fact, the film could be seen as prescient, as both religious revivalism, and celebrity-scandal driven journalism (another of its subjects), have arguably become more prevalent since it was made. The film's slant may be predictable, and it also suffers from some common flaws of its era (an ugly, intrusive Andre Previn score, and occasionally wooden acting); but it's hugely entertaining nonetheless. Burt Lancaster plays the eponymous anti-hero as rogue of such charm that you almost want him to succeed; while the ambiguous character of his partner Sister Falconer (Jean Simmons), who doesn't seem to know herself whether is she a fellow-fraud or a genuine messenger of God, makes a perfect dramatic foil. In fact, the film's theatricality can almost be seen as a strength, for it's constructed like a well-written play. Although most entertaining when Gantry is actually preaching (mainly in the opening half of the film), the intelligent script moves on from it's basic premise (that Gantry is a charlatan) to explore wider questions of the nature of humanity and society. You could even argue that Gantry is performing a kind of public service, meeting a need with maximum opportunism but without malice. For all that, you also fear for a world in which the influence of modern-day Gantries shows no sign of diminishing. This is a film that has outlasted its time.

For some reason Richard Brooks seemed to think of himself as the man best suited to turning great novels and plays into films, but if the results were at best entertaining ("The Brothers Karamazov", "Cat on a hot tin roof") they tended to fall far short of the originals. If "Elmer Gantry" worked better than most was largely due to Brooks ability to tell a rattling good yarn at a cracking pace and to the performances of a superb cast.

Burt Lancaster seemed born to play the role of the lustful traveling salesman whose desire for the Aimee Semple McPhearson-like Sister Sharon turns him into a charismatic preacher, (his performance here is a virtual reprise of his performance as Starbuck in "The Rainmaker" a few years earlier). As Sharon, Jean Simmons gives a luminous performance, all fragility and repressed sexuality and singer Shirley Jones is a revelation as a trampy prostitute; (both she and Lancaster were rewarded with Oscars). Not great then, but several cuts above what it might have been.

I just spend two days at my best friends' home for his father's funerals, and during the obligatory moments of life contemplation, we were wondering what was awaiting us all. I guess it's hard to imagine that your beloved one has faded into nothingness, so religion brings you a certain psychological comfort in knowing that there's such a thing as a soul and that, depending on a man's life, it gets the treatment it deserves. Yes, sir-ree, it might feel simplistic but at least it's fair and square.

I think this logic might explain why revivalism is so fervent in America, most of the small-town folks wouldn't fancy an alternative to an after-world where the good isn't rewarded and the evil punished, God fabricated men in its own image so it's only fair that men built a society that works in the same way than God, even if God can act in mysterious ways... let's face it, even the most sophisticated ones of us wouldn't figure out a universe where religion, as complex as it is, wouldn't be easy to "pitch", no matter how tempting agnosticism could be.

This is why promoting revivalism in the hearts of Americans isn't the most difficult thing to operate, it all comes down to telling people that they're going to burn in hell if they sin and to save their souls if they repent, people are ready to hear that if the words come from the right mouths, it's like a good cop/bad cop routine. In Richard Brooks' "Elmer Gantry", adapted from the novel of the same name by Sinclair Lewis, the good cop is Jean Simmons as Sister Sharon Falconer, a saintly revivalist who talks in sweet and delicate prose, and handles her followers and her endeavor like a businessman would do, and there's the bad cop, but one hell of a smooth-talker named Elmer Gantry.

In the original novel, he was an ordained Minister, in the film, in order to appease the Hays Code, he's an ex-Bible salesman who learned the voices of Gospel from scratch and is capable to infuse Bible passages in every monologue, with a grin that would convince the devil himself to sing Halleluiah. To call Gantry charismatic is an understatement, the casting of Burt Lancaster is perfect if only for providing him that irresistible smile, one so charming that it can get away with the scariest threats or allow an improvised line about love to become his catchphrase and play like a running gag all through the film.

What works even better in Lancaster's performance is that his intents are rarely clear and a big cloud of mystery floats around his solid shoulders. His character-establishing moment occurs when he convinces a bunch of drunkards to give charity money to old Christian ladies during a Xmas celebration. With his smile, he manages to skim money off a few piles without even asking, working like the gangster who'd get anything with a smile rather than a threat. Before, he was telling naughty jokes and after, he would have sex with Lulu Baines (Shirley Jones), a hooker who couldn't resist his words, a move that would backfire at him later. Gantry is irresistible indeed, but he's a swindler and I'd say about him what I say about Fellini's "Bidone", before you find them sympathetic, keep in mind it's part of their job.

So Gantry drifts from a place to another until he meets Sister Shara and has an epiphany. He cons her into believing he can attract the crowds with a "saved salesman" speech, Gantry brings crowds indeed and makes arrangements with Zenith church leaders, convincing her that religion must be a spectacle and must bring money in order to survive, and then we get to a second act where it's all about the spectacular improvisation of Lancaster and the professional talent of Simmons, religion turns out to be a big circus, where even the enthusiasm of the audience is part of the show. Lancaster and Jones won the Oscar but Jean Simmons was sure robbed of a nomination and even Arthur Kennedy as the no-nonense big-city reporter Lefferts had a few interesting sequences as the man of reason in the midst of that huge cacophony.

Yes, because there's a lot of noise in the film and this is why it never ceases to be entertaining, so many speeches like a "Network" of the 60s, the noise of religious frenzy, of media craving for sensationalism, of cheering and booing, of "Glory Glory Halleluiah", the film was directed the same year than "Inherit the Wind" but the handling of religion and religious figures is in such a hyperbolic way we might suffer from dizziness, especially when romantic feelings get mixed up and the film culminates with a third act where the ugliness implodes on everyone, what goes around...

This all leads to the inevitable confrontation between good ol' truth and ol' time religion... but the film (like "Inherit the Wind") tries to give the two sides a fair trial, even avoiding to make a total scam out of Gantry and keep him sympathetic even when he's truly guilty of manipulation. But isn't it all about manipulation after all? Media, businessmen, corporations, public opinion, religion, are all institutions guided by noble intentions but that couldn't keep on going without money. Some things exist because they have to... and because they need to exist must count on the shadiest ambassadors, ironically, Gantry was the most human of all, especially with his weakness for a good drink.

The film explores all the facets and allows each side to be given a fair treatment but it also shines by its punchy script, gutsy approach and an unforgettable performance by Burt Lancaster aka "The Grin", a hard-drinking fellow who embodied an aspect of religion that can echo Homer's statement about alcohol as the cause and the solution to all men's problem. Cheers!

Elmer Gantry may have a rather unsavoury past but the one thing he can do better than anyone is sell – himself, pots, pans, anything. When he teams up with evangelist Sister Falconer, he sells religion from a tent to 1920's America, helping Falconer with her aim of getting out of the tent into her own temple and building a proper congregation. Gantry's noisy methods seem to work, even if they draw derision from the religious establishment and attacks from the cynical press. However as the pressure builds to tear him down, can Gantry prevent his past from returning to haunt him? I'm sure back in 1960, this film must have been pretty controversial, shocking and challenging in its portrayal of evangelistic religion as cynical, money-grabbing and being as much about show business as God. Watching it today, it is hard to be surprised by any such suggestion since my cynical generation is much more accepting that nothing is what it seems and everyone has an agenda. Despite this though the film is still quite engaging and enjoyable as it delves into this world with a certain amount of glee; the fact that it peels off this world to look at Gantry specifically is a bit of a shame because it cuts under that focus a little. Connected to this it must be said that I did think the plot was a little thin at times and the strength of film does lie in the general portrayal of the world rather than the nitty-gritty of any one character or thread (although even the thin bits are pretty good).

Lancaster gives a great performance as a complex man hidden behind a smile, a warm handshake and a lot of words; even today it stands up well as a damning portrayal of evangelists and it is hard to tell the difference between him in "salesman" mood and some of the ones that are on US TV all day. Simmons is good even if her character means that she is silent and serious and very much in the shadow of the title character. Support is roundly good from Kennedy, Jagger, Jones and others but it is Lancaster that really gives the film a boost.

Overall this is a good film that is still worth seeing even if time has lessened the impact it would have once had. The acting is good and the plot is enough to do the job, even if the really good material comes from the general damning commentary on the state of play with the world of evangelistic religion.

"Elmer Gantry" can be considered the quintessential exploration into the omnipresent duality existing between a person's religious faith and simultaneous character defects. Burt Lancaster is bold and provocative as the title character who is preaching to you one moment and drunk and surly the other. The acting and directing is superb to the point that it becomes difficult to remember that it is only a movie. Jean Simmons is lovely and convincing as as Sister Sharon Falconer, the charismatic female evangelist who wins Gantry's heart (and lust)as they team up to jump-start America's dwindling religious beliefs. Of course, turmoil closes in on them as their inherent instincts of love overpower their adherence to the Christian principles they attempt to profess.

This is a searing message, indeed, that should be heeded by the Jimmy Swaggarts and Oral Roberts' of the world. Evangelism can be a dangerous platform when it allows a single person to rise to power while removing him (or her) from the fact that he is still a human and, thus, still vulnerable to the instincts and flaws he vehemently opposes on stage. It is thrilling to see how the Bible-Belt public shift their view so quickly when they first support and believe in the sincerity of Gantry and Sister Falconer but then witness their humanity and become violent. The scene where the heckling crowd throws garbage at the ostracized couple while a man plays a jazzed up rendition of "Onward Christian Soldiers" on the trumpet after Gantry is caught with a prostitute (played to the hilt by Shirley Jones) is both amusing and sad. If you enjoyed the book, you will not be disappointed with the movie in the least.

Burt Lancaster gives a fierce, bellicose and frightening performance as a salesman turned preacher, brining religion to the people in this screen adaptation of the Sinclair Lewis novel.

Director Richard Brooks had good taste in source material (this, "Cat on a Hot Tin Roof," "In Cold Blood," to name a few), but he never seemed to be able to make a whole-heartedly compelling film from whatever book or play he happened to be adapting. That's the case here. "Elmer Gantry" is certainly a good movie, but one watches it unable to keep from thinking that a better adaptation could have been done. It's hard to put a finger on exactly how or why this film fails to measure up, other than the vague impression that it's lacking a certain energy required to be truly memorable.

Lancaster singlehandedly tries his damnedest to supply the film with all the energy it needs, and he comes awfully close to succeeding. He tears through the film, filling the frame with his crazed features and flailing gestures, a case of overacting for once being exactly what's needed for the role. Jean Simmons is unmemorable; I always thought she was a classy but uninteresting actress. And Shirley Jones breaks type to play a floozy.

Solid, not great, film with a tremendous lead performance.

Grade: B+

The titular character starts out as a cynical small time hustler discovering a good scam joining up with a traveling revival show, and casting his eye to the charismatic and comely lady preacher leading it.

What is really good is how the character develops, and gradually becomes a good sincere Christian, which is best seen in his interaction with the Shirley Jones character.

She is a preacher's kid who was disowned by her father before the start of the movie timeline after he caught Elmer "ramming the fear of god" into her. She has since become a prostitute, and has the opportunity to repay Elmer's earlier callous treatment.

Oh, yes, I know these people, or at least watered down real life versions of them. This movie really gets at the charismatic Christianity of the heartlands, and the strong sexual tensions running just beneath the surface. Oh, I bet Jimmy Swaggart for one knew JUST what they were getting at.

Richard brooks IN COLD BLOOD is one of my all time favorite films. But I am not too fond of his overtly talky films like CAT ON A HOT TIN ROOF, SWEET BIRD OF YOUTH and now ELMER GANTRY. ELMER GANTRY was too much like a play. I did not feel like i was watching a movie. There are just too many scenes where LANCASTER simply cons a lot of religious folk. There are way too many scenes that sort of emphasizes GANTRY's cunning nature and too many that emphasize how romantic Sharon Falconer is. Of course, LANCASTER is splendid as the corrupt fast talking hard drinking GANTRY. He lights up the screen and is a perfect foil for the understated JEAN SIMMONS. I cannot put my finger on what exactly went wrong with the movie. Too many indoor scenes with overtly dramatic elements but not too many cinematic elements?

The film really works towards the end when the prostitute (played by a sexy SHIRLEY JONES) spoils GANTRY's plans. We see a bit of GANTRY's humanity after he is built up as a scheming crook throughout the film.

I felt that the film was a lot like A FACE IN THE CROWD. While A FACE IN THE CROWD was about the marriage between celebrity, politics and media, ELMER GANTRY was about the power of religion and how it was used to control and congullible people. I look forward to reading the book by SINCLAIR LEWIS.

(6.5/10)

This movie is completely torpedoed by a terribly muddled, senseless final half hour that not only left me scratching my head, but almost tearing my hair out in frustration. The first two hours are reasonably effective as it plunges into the themes of religion, sex, hippocrisy and Show Biz; though I was always aware I was watching a movie - there's an artificiality to it that left me somewhat cold. Nevertheless, Burt Lancaster is riveting and Jean Simmons and Dean Jagger have their moments as well. But in the final reel, character motivations don't just become fuzzy, they become downright unfathomable. Maybe it had something to do with Production Code restrictions of the time - whatever the case, it doesn't make any sense at all. I think the producers of the film were just determined to have a big, apocalyptic climax, even at the expense of artistic merit.