Magnificent Obsession

The Sirk excellent remake has overshadowed Stahl's version nowadays.That's certainly unfair,because the latter was a pioneer of the melodrama who would peak with "leave her to heaven" ,ten years later.Stahl 's version,in stark black and white is certainly not as palatable as the 1953 movie and its gaudy technicolor.

Randolph's character seems more important in Stahl's version.His theory is certainly moving:You've only got what you give and you should not expect any award.Merrick tries to apply this theory,first because he wants to seduce the wife of the philanthropist/doctor who indirectly died because of him,because he was an alcoholic playboy.He has not really understood what Randolph tried to explain to him.The scene with the hobo comes as a comic relief,which is terribly needed in such a dark yarn.When ,as leaving the poor man,Merrick thinks he's got some divine reward,he's completely mistaken.A Christian movie,"magnificent obsession" sure is,as Randolph,in his second scene ,mentions the Christ. After all,his theory is not that much far from that of James Stewart's guardian angel in "it's a wonderful life".

Unlikelihoods are here there and everywhere,but it's the rules of melodrama.The story ,which includes death,blindness,moral and physical redemption,is not more far-fetched than westerns and thrillers plots.And life is so strange that it can turn sometimes into the most implausible melodrama;and like it or not,not necessarily with a happy end.

I saw this movie only one time on AMC during a film renovation special in 1991 or 1992. Its a wonderful movie. It made enough of an impression on me that 12 years later, after only one viewing, I still consider it a favorite.

I know that the later version with Rock Hudson and Jane Wyman is considered to be a good remake by film critics and fans, however, when I tried to watch it, I revolted at the glitzy technicolor melodrama. The magic, the old Hollywood glamour, the passion and the agony I found in watching the original seemed completely lost in the remake. I hope they do restore this movie before it is lost forever. I hope I get to see this movie again some day.

This is one of Irene Dunne's better pictures. She once said she enjoyed the character she played, and it is apparent in this movie. In fact, this would be a good movie to watch if you wish to view Irene Dunne's native charm and mystery. She was a wonderful actress and this was a good example of her performance style in a serious role.

I suppose Magnificent Obsession could best be described as a religious soap opera. It's definitely the kind of film that both of its stars, Irene Dunne and Robert Taylor would identify with in real life given their politics which were on the right. Even more so for Irene Dunne who was a prominent Catholic lay person.

It was a best seller in 1929 for newly minted writer Lloyd C. Douglas, a former Methodist minister who had retired from the pulpit and spent the rest of his life writing fictional works with a religious theme.

Irene Dunne was by this time a very big star and Magnificent Obsession entered the pantheon of her big hit films. But for Robert Taylor it was the breakout film of his career, establishing him once and for all as a star player with potent box office.

Taylor was a special favorite of Louis B. Mayer at MGM, it wasn't an accident he established a record for the longest studio contract in film history. Taylor was coming along in his career quite nicely as and had gotten notice in some supporting roles and had even had a lead in Murder in the Fleet. He had also played part of a love triangle as another doctor in Society Doctor with Chester Morris and Virginia Bruce.

I'm betting that it was that this was the film that Carl Laemmle saw at Universal when he asked Mayer for Taylor's service on a loan out. This would have been a win-win situation for MGM. If Taylor clicked they had his services and if he didn't it was Universal's loss.

Anyway it was in this role as the shallow playboy who becomes a noted surgeon that Taylor scored his big hit. His growth in some ways is similar to Tyrone Power's later on in The Razor's Edge. In fact had this been done at 20th Century Fox Power would also have had a big hit. But his breakthrough year was one year away.

Through a combination of unfortunate circumstances a noted doctor, esteemed for his good works dies suddenly of a heart attack. He might have been saved, but a resuscitator was being used on a young Taylor who was involved in a speeding boat accident. He becomes a hated figure with the family and friends of the late doctor, especially his new widow, Irene Dunne.

Later on Taylor while in an inebriated state meets up with Ralph Morgan who lets him spend the night and sober up on his couch. When Taylor awakens, Morgan talks to him about trying to tap into a higher power by doing some good works and it will redound to his favor on earth and in heaven. And the idea is to shun publicity for the same.

Taylor expects some more immediate return on good works, but it he gradually comes to a full realization of what Morgan is talking about. Former minister Lloyd C. Douglas had used as the basis for this philosophy, Matthew Chapter 6, 1-4. The substance of which don't flaunt your good works before humanity openly because then you'll be courting favor with the world. But if you do it with as little fanfare as possible, God will reward you in heaven and on earth.

Robert Taylor was 24 when he made this film and the part called for him to age several years and he succeeds as both the playboy and the mature and spiritual doctor. Magnificent Obsession was remade 19 years later with Rock Hudson and Jane Wyman and proved to be as big a hit with audiences then as in the Thirties.

Robert Taylor made very few films away from MGM until his contract was up after 1958. I suppose his services were Louis B. Mayer's Magnificent Obsession.

I'm SOOOOOO Glad that the 1935 version of Magnificent Obsession is being released along with the 1954 version..The newer version is getting all the hype,etc. but it truly is the 1935 version with Irene Dunne/Robert Taylor which is the understated and much better rendering. I have a poor video quality version,but better than nothing..hope the released version has been improved in restoration.John Stahl's solid directing makes the principal characters more realistic.Robert Taylor shows a palpable presence in his first main screen venture..and of course amongst Irene Dunne's early 1930 films,this simply is one of her very best!1935..classy...1954...somewhat sappy