MAGNIFICENT OBSESSION
US, 1935, 112 minutes, Black and white.
Irene Dunne, Robert Taylor, Charles Butterworth, Betty Furness, Sara Haden, Ralph Morgan, Arthur Treacher.
Directed by John M. Stahl.
Magnificent Obsession is based on a novel by Lloyd C. Douglas (The Robe). Douglas was a Protestant minister and his beliefs come out very strongly in his novel and in this 30s screenplay (probably much more explicit than in the 1950s version with Jane Wyman and Rock Hudson). The magnificent obsession of the title is the self-giving that any ordinary person can do with their life: give money and goods to those in need, keeping this secret, not asking for any recompense at all. It is something like Pay It Forward (the film with Helen Hunt, Kevin Spacey and Haley Joel Osment in 2001).
Irene Dunne portrays the widow of a celebrated doctor who put this obsession into practice. He dies when a machine is used on a ne’er do well wealthy young man, Robert Merrick, played by Robert Taylor. The widow, daughter and friends of the doctor are resentful towards the playboy. However, he is attracted towards the widow, takes her on a drive an, as she steps out of the car, she is hit by an oncoming car and blinded. Merrick then takes stock of himself, makes contact with the widow in her blindness, helping her, she not realising who it is. He arranges an appointment in Paris where specialists will look at her eye but they decide against it. He shows her around Paris and reveals himself to her and she forgives him. He proposes marriage, but she disappears the morning after, leaving a note and no whereabouts. In the meantime, Merrick studies to be a celebrated brain surgeon.
Irene Dunne brings great dignity to the role of Helen Hudson. Robert Taylor in his first starring role (he had appeared in nine films in 1934-35 before this one) and was to make his mark here. He was on loan from MGM Studios and on his return made Camille. His future was assured. The supporting cast is interesting with Ralph Morgan in the role of Randolph, the man who reveals the obsession to Merrick. Sara Haden, before she became part of the Hardy Family, is a strong-minded nurse.
The film has great sentiment, can bring tears to the eyes of its audience, is a very good star vehicle, is a fine example of Hollywood film-making using material that could so easily become soap opera.
The director was John M. Stahl who directed such films as Back Street (with Irene Dunne) and Imitation of Life which, along with Magnificent Obsession, were all remade in the 1950s. He also directed The Keys of the Kingdom and Leave Her to Heaven.
1. A film of the 30s, the original novel, the adaptation? The appeal to a female audience, male audience?
2. The work of Lloyd C. Douglas, his religious background, his writing The Robe? His belief in God, the nature of faith, the nature of a transcendent power and human connection with it, the power and its achievement? The nature of giving of goods, keeping it secret, not asking for payback, the religious of questions that it raises? The references to the Gospel, to Jesus’ teaching? Even if a person was not religious at all?
3. The black and white photography, the style, the affluent setting, mansions, costumes? The scenes in Paris? The musical score?
4. The title, Bob and his obsession? Robert Taylor’s screen presence? Bob as rich, spoilt, drinking, idle, the accident, using the machine? In hospital, his tantrums, attitude towards the nurses, the tantrum over breakfast? Getting out with his chauffeur? Passing Helen with the car, the breakdown, the spark plug, his offering to help? The driver coming past and taking her back? His being stranded? His climbing in the window? His discovery of who Helen was? His being ashamed? Helen’s reaction? The encounter with Tom in the hospital, the box of chocolates, at the Hudson door, taking him out? Their drinking, the dead end, Tom and his falling into the hole, Bob going to get the ladder? His prospects? The reactions of Helen, Joyce, Nancy and the staff?
5. Helen, her life, marrying Doctor Hudson, happiness, the age difference? Her welcoming Joyce at the wharf? The hopes, arriving home? The doctor’s death, grief, resentment towards Bob? Having to cope, meeting Bob with the car, her meeting him again in the hospital room? His seeing her in town, the second ride, her getting out of the car, the accident and her blindness?
6. Helen and the child, her recovery, her umbrella as a stick, going across the street to the park, reading Braille with the little girl? Bob introducing himself as Doctor Robert? His support, friendship, providing the books, her falling in love with him? His encounter with Joyce and Nancy, Joyce’s anger? His helping Helen’s finances? Arranging for the doctors’ meeting in Paris? Going to Paris?
7. The doctors and their examining Helen, the decision not to operate, her reaction, sadness, feeling like despair? Joyce and Nancy trying to help? Bob arriving, cheering her? Joyce’s apology to him? His showing her around Paris, admitting the truth, her knowing?
8. Helen’s disappearance, the notes, the years passing, Bob and his study, his ageing? The items in the papers?
9. The voyage home, the press interviewing him, Joyce and Nancy meeting him? Joyce and Tom, the marriage, their child?
10. Randolph at the wharf? The episode with Randolph, trying to borrow the stepladder, Bob drunk, sleeping it off, the morning, the breakfast, Randolph and his explanation of Doctor Hudson, the obsession in giving? Helen and her meeting the people who had benefited by the doctor’s gifts? The woman whose daughter was an artist? Randolph and his sculptures, the exhibition? His kindness towards Bob, explaining the situation? The secrecy? Bob in town, giving the money to the beggar, seeing Helen?
11. Randolph at the wharf, visiting Bob, the news of Helen? The plan, the operation, the doctors and everybody going to Virginia? The tension in Bob’s hands? The operation? Bob visiting Helen in the ward – his revealing himself? The prospect of ‘tomorrow’?
12. An edifying romantic film, the message as well as the entertainment?
