Brennendes Feuer der Leidenschaft

A promising, although hardly unique premise – wicked city woman (Joan Crawford) marries good ol' boy (this time a gentleman farmer, played by Melvyn Douglas) not for love, but because she's sick of her current lifestyle. Of course, plans go awry and this `intruder' into their pat little lives and old family ways unduly disrupts the farmer's whole family.

Unfortunately, The Shining Hour's structure is so episodic and choppy that none of the characters has time to be fully developed. This is a shame, as each of them appears quite interesting in the limited screen time allotted them. A longer running time and more character exploration would have benefitted the film greatly. As it is, every time a new tidbit of information is revealed that may be of interest to the viewer, some obvious plot point takes over and speeds things along toward the ludicrous ending. I was left shaking my head, groaning and shouting `NO!, NO!' at the screen more than once. Horrors.

CAST/PERFORMANCES: Joan Crawford gives a good performance here, and her beauty is almost overwhelming. Melodrama (which this film most definitely is) was her forte, and she excels as wrong-side-of-the-tracks dancer Olivia Reilly, looking to better her stature and improve her social standing through her association with new husband Harry Linden (Melvyn Douglas) and his well-established, none-too-poor family. Crawford comes off very believably in this role, and she's great in it.

Melvyn Douglas does an excellent job as Crawford's husband. I thought he was very adept at both the tender, quieter scenes as well as the angrier ones. As Harry Linden, he is a very sympathetic character who tries to keep everyone happy, and almost loses everything despite his efforts.

Robert Young's character is an enigma, and he plays the complex role of David Linden, Harry's brother, very well. David is a moody individual, and the viewer is never sure how he will act or react next. Young gives a thoughtful, yet strong performance. Having had quite a few roles like this in his younger days, it's unfortunate that he lapsed into mawkish television roles later in his career.

I can't relate at all to the character of Judy Linden, played by Margaret Sullavan. I like her performance, and think she does well with the words she is given to say. She cries well, too, which I always admire in an actor or actress, yet for me the role is too self-sacrificing, and her unbelievable character is the downfall of the entire scenario. Why, why, why???

Fay Bainter is usually better than she is here. I just didn't feel the menace that her character (Hannah Linden) was supposed to evoke, except for the party and fire scenes – those were done very well. Hannah's character seems to be the forerunner of Luz Benedict (played by Mercedes McCambridge) in Giant. There are several similarities between the two. It's too bad that both performances are also somewhat lackluster.

GOOD POINTS, BAD POINTS: If you can ignore the implausibility of the outcome and the fact that some of the action is simply mind-numbingly hard to take, you might consider watching this film. My advice is to give The Shining Hour a chance, because aside from the goofy, terribly abrupt ending, it does have some elements to admire, including some thoughtful dialog and especially the humanity of the characters, which is surely the film's strongest point. However, this ruined potential makes it extra frustrating to watch, so keep all heavy objects out of your reach as you tune in.

High class soap opera with the MGM sheen and a cast of great actors. Joan's a respectable if restless performer who marries Melvyn Douglas on a whim and goes back to his family home where trouble awaits and that's when the fun begins.

The story of family animosity and dangerous attraction isn't anything new but as presented here by these super professionals and director Borzage they find ways to make it compelling.

Joan is unquestionably the star of this enterprise and she holds her own with the strong cast that surrounds her while looking glamorous and suffering nobly.

Fay Bainter turns her usual warm and understanding persona on its ear as a harridan twisted by jealousy and bitterness. Robert Young turns in good work as a bit of a weasel and Melvyn Douglas although Joan titular co-star really doesn't have much to do and is absent from a good deal of the film but he does what is required of him with his usual skill. The marvelous Hattie McDaniel has a tiny role as Joan's maid with the improbable name of Belvedere and injects a small dose of levity into the heavy going dramatics.

Good though they may be and Joan is the queen of this little opus they are all outshone by one of their fellow actors. Margaret Sullavan as Young wife gives a performance of such quiet beauty she wipes anyone else off the screen whenever she's on it. An actress of great skill and subtle intensity she makes her Judy a character that seems far more real and relatable than anybody else on screen. Her output was small, only 16 films in total, but she always had a vivid and alive presence on screen.

If you enjoy dramas with an adult, if a tad melodramatic, outlook enacted by talented performers this is for you.

Joan Crawford disrupts a family in "The Shining Hour," a 1938 film also starring Melvyn Douglas, Margaret Sullavan, Robert Young, and Fay Bainter.

Crawford is Olivia Reilly, a New York City dancer who works in a nightclub with a partner doing an act sort of modeled on Astaire and Rogers though it's clearly down several levels.

Melvyn Douglas is Henry Linden, a gentleman farmer who wants to take her away from all this to Wisconsin, and sick of her present life, she marries him. Arriving on the farm, she finds herself hated by Henry's sister, Hannah (Bainter), lusted after by Henry's brother David (Young) and loved and envied by David's wife Judy (Sullavan).

Before long, David is making overt passes, Henry has figured out David is in love with his wife, and in spite of herself, Judy begins to suspect the same thing.

This film is a little overdone, as it seems like the tension in the house never lets up. David always looks miserable, Judy always looks nervous, Olivia is always trying to be nice except when she's trading barbs with Hannah, and Hannah is nasty.

How any of them stood one another for more than ten minutes is a miracle. We are never allowed to see any happiness.

Also, the entire end of the film is a mess -- Judy takes a ridiculous step to make everything right, but it all goes in the opposite direction.

The most absurd part of the whole film, without giving anything away, is that one of the characters ends up wearing bandages - covering their nose and mouth with only the eyes showing. Now, how is anyone supposed to breathe like that? How did the actor breathe, in fact?

Joan Crawford looks beautiful and is very good in her role as a city slicker who wants to love her husband and environment but is finding it difficult.

Tall, elegant Melvyn Douglas, who thirty years later would emerge as one of the truly great actors in cinema, does a wonderful job as the even-tempered one of the family. For so many years, he played the family friend, the family lawyer, the other man - how, with all that magnificent talent, did he ever stand it?

Robert Young is fine as David, though Margaret Sullavan is so nice and sweet and so much in love with him that he's somewhat unlikable for coming on to Olivia. As the vicious Hannah, Fay Bainter is effective, though I'd have thrown her out of the house.

All in all, it's just okay.

I always wanted to see this movie. It was one that Joan Crawford wanted to do after so many mediocre movies in the mid-30's. But I just did not like it. It was based on Keith Winter's Broadway hit but it was probably overly sanitized for the post-1933 censors that did not allow characters to have real problems unless they were killed for their human indiscretions. The cast is tops. Youthful Joan , the lovely Margaret Sullivan, the excellent Robert Young, the charming Melvyn Douglas and the superb character actress Fay Bainter. The script just does not properly develop why these characters especially Bainter's are so conflicted. And Joan seems too mannered in that way that made it look like she was just walking through the part. Not one of Joan's classics but watchable nonetheless. Bainter walks away with it though her character's sudden change at the end does not make any sense.

Contrary to most of the opinions I read here, I did not find this film "soapy." I found it, refreshingly, a film for adults. For me, that's all too rare. I think it's about what relationship is, what love is and isn't, and most of all about the experience it takes and the resulting wisdom to build relationship beyond an adolescent understanding of love and attraction. And the great value of the self-knowledge that results. For me, that adult perspective was so refreshing and so rare that it beats out every other consideration. (Especially given the idiotic popular fare we're used to these days which substitutes a junior high school age cynicism for the difficult work of love.) Along with, say, "Dodsworth," for some reason Hollywood in this period was capable of some genuinely mature work for adults. The popular culture could use a little more. With Ogden Nash in the writing credits, I shouldn't be surprised at what I found valuable in this film.