Brothers and Sisters! As I look upon the Rotten Tomatoes reviews of Elmer Gantry, I am overwhelmed by the criticism that I see. Critic Jonathan Rosenbaum accuses director Richard Brooks of being "the ultimate vulgarizer of serious literature." "If not for the amazing performance of Burt Lancaster, the film would collapse under its own self-righteousness," suggests reviewer Wesley Lovell. But, do not heed these false prophets! These representatives of media and academia. Elmer Gantry is actually a fine film that works as both a character piece and religious/social commentary.
Looking at some of the cast, one might think that the film is full of one-note characters whose only purpose is to contribute to the social commentary. There's George F. Babbitt (Edward Andrews), a businessman who puts his financial concerns above moral ones. There's William Morgan (Dean Jagger), revival producer/promoter who seems more interested in filling seats than saving souls. There's Sister Sharon Falconer (Jean Simmons), a self-made revival leader who allows herself to be used by Gantry. Then there's Gantry himself, with Burt Lancaster giving what some deem to be an over-the-top perfrormance. Gantry, the charlatan who uses his skills as a salesman to bring more people into the revival. Gantry, the man who can't resist his vices. Gantry, who seems to be genuinely moved by the Spirit. Gantry, who uses Sister Sharon before attempting to save her. Wait, perhaps there's more to Brother Gantry than simple satire. As a matter of fact, there is something that Brooks brings to most of the characters of the film - Love! Love, the morning and the evening star. From Sister Sharon to Morgan to Lefferts to Gantry to Lulu, Brooks shows enough love and empathy for his characters to make them multidimensional beings. Sister Sharon plays the victim most of the film, her piety dirtied by Gantry, but the film finishes with her assuming power and being destroyed by misplaced faith/hubris. Lulu alternates between being furiously angry with Gantry and desperately in love with him. Morgan protects Sister Sharon in a way that shows both appreciation and exploitation. Lefferts wants to bring Gantry's revival down, but by attacking his arguments and movement rather than by the character assassination of Gantry. He even seems to vacillate between admiration and repulsion for Gantry.