RAGE IN HEAVEN

US, 1941, 82 Minutes, Black and White.
Ingrid Bergman, Robert Montgomery, George Sanders, Lucile Watson.
Directed by W.S. Van Dyke II.

Rage in Heaven was Ingrid Bergman's third American film, made at the same time as Adam Had Four Sons and Dr. Jekyll and Mr. Hyde. She indicates the kind of presence she was to have over many decades in films winning Oscars for Gaslight, Anastasia, Murder on the Orient Express.

The film was directed by W.S. van Dyke, noted for his competent making of films in economic time and budget. The film is a typical romantic melodrama of the 40s. Robert Montgomery, repeating the style of psychopath from Night Must Fall, is well contrasted with George Sanders in a suave sympathetic role. There is a strong supporting cast. The original novel was by James Hilton, author of Lost Horizon and Goodbye Mr. Chips. Writer Christopher Isherwood was one of the screenplay writers. Rage in Heaven is an interesting glimpse of the attitudes towards psychiatry around 1940. It might be compared with Lady in the Dark, the musical presentation of psychiatry also made in the early 40s.

1. An interesting, enjoyable popular melodrama of the 40s? The stars and their impact? MGM glossy style of the times?

2. The significance of the title, the reference to Milton and hate and love? Indication of tone and themes?

3. The presentation of madness, the role of psychiatry in the 40s, now? How much insight into the psychopath, ways of behaviour, effect on others' lives? Madness and melodrama? Robert Montgomery as Philip Morell? The fact that he was first seen and was identified wrongly as Ward? His sanity, insanity? His charm and yet his icy hostility? Seeing him with Ward, at home? His relationship with his mother, memory of his father? The inheritance, his wealth, work and industry? His reluctance to be involved in the work? The encounter with Stella, the quality of his love - would it have been possible

4. The presentation of his mother, her love for her son, love for Stella? The importance of her moving to South Africa? Her presence at the end, hostility towards Stella and Ward? The influence on her dead son and the revelation about the diaries? The Freudian overtones of mother-son relationship, the revelation of the father's suicide and Philip following the pattern?

5. The presentation of Stella, Ingrid Bergman's presence and style? Her charm, her presence with Mrs. Morell, her vivacity and attraction towards Philip and Ward? The genuineness of her love for Philip, the quality of the marriage? The suspicions, fears? Ward's presence and her acting properly? The background of the lyrical scenes with Ward before her marriage to Philip? The various pressures and their effect, the outings with ward and Philip's sudden presence, the scene in the confrontation with the workers? Her decision to leave him and the pressure on Philip to make her victim as well as Ward? Her pursuing the case through and the gratification of discovering the truth? A portrait of a heroine?

6. George Sanders' style as Ward? Charm, Philip’s continued jealousy even from childhood and university days? His presence, skills, hopes? The romantic scenes with Stella before the marriage? His discretion after their marriage? His presence in the home, his ordinary behaviour with Stella eg. the meal? Philip's attempt to kill him? His being totally victimized and set up and his walking into the traps with the room, the knife in the handle, the car etc.? The prison scene? His vindication?

7. The presence of the servants, especially Clark and his loyalty to Stella? Their role in the melodrama?

8. Audience interest in and response to Philip's plan, the detail of his execution, the discovery of his motives?

9. The presentation of the trial, the inevitability of Ward's condemnation, the prison sequence, the prison governor and the chaplain and helping Stella to see him?

10. The framework of Dr. Rameau? The importance of the scenes at the beginning, Philip’s escape and Dr. Rameau's interest in psychiatry? The melodrama of his presence at the end and his vindicating the situation? The desperation of discovering the diaries and the 'phone calls from Paris?

11. The commonplace happy ending, appropriate for this kind of romantic film? Values of right and wrong, sanity and madness, justice? A melodramatic blend of romance and danger?