Editing Frank Capra (section)

=== Film Style: Moral Geometry ===
Capra’s films are structurally rigid, often binary in moral tone, and '''reliant on symbolic reversals'''—the good are vindicated, the powerful exposed, and truth ultimately prevails. This is not sentiment—it is '''autistic moral structure''', built on '''internal codes of fairness, justice, and principled endurance'''.

Characters like Jefferson Smith (''Mr. Smith Goes to Washington'') and George Bailey (''It’s a Wonderful Life'') are not psychologically complex—they are '''symbolic carriers of Capra’s superego'''. Their suffering is diagrammed, their arcs symmetrical. These narrative structures resemble the '''autistic impulse toward symmetry, ethical mapping, and redemptive logic'''.

Capra did not embrace ambiguity. He believed in truth, redemption, and moral clarity—not as political statements, but as '''cognitive necessities'''.
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