Heat Lightning

This predecessor of The Petrified Forest (criminals on the lam change the lives of assorted characters at an isolated lunchroom) shows its origin as a Broadway play, but it's faster moving, less pretentious, and a lot less talky than the better known movie. The large cast is wonderful, especially the great Aline MacMahon; their characters well defined; and the direction and cinematography are crisp and professional. It's well worth the hour it takes to watch it.

Heat Lightning is tied with The Adventure of Robins Hood as my favorite Warner's film. It's always a pleasure to watch Aline MacMahon, but here I think she gives an Oscar worthy performance. She and Preston Foster smolder! Aline's slowly changing attitude is wondrous to behold. Her final scene with Foster is memorable. A lot of the Warner's stock company come and go throughout the film, always giving freshness to their roles. The daytime location and cinematography perfectly capture the feel of the desert. (I live near Tucson.) The night time scenes, although well matched, are shot on a sound stage, and so, are not as effective. But I suppose they were necessary for the lightning effects. This a film that will stay with you. And make you want to watch it again.

I was very fortunate to DVR a pristine copy of this many years ago on TCM and I have watched it probably 30 times since.

My dad made several auto trips across the US in the twenties and earlier. Though this was 1934, it provides me with a visual perspective on some of what he may have encountered before there was a national system of highways, or many paved roads for that matter.

My enjoyment of this film comes mostly from the glimpses into early motoring. As a kid in the early fifties I made many a trip from California to Iowa with my folks on route 66. Motoring was not all that sophisticated even in the early fifties and that plays into it as well.

This review/comment is not so much about the finer points of the movie as it is a statement on how enjoyable it is for me because of the time in which it was made.

The fact that there is a great little drama playing out and lots of ventures into quirky personalities and side plots, is just icing on the cake.

A fine example of minimalist film-making, this Warners B-pic offers a proto-feminist scenario delivered with some swell precode attitude. Two sisters (one world-weary, the other innocent) run a service-station-cum-caravansary on an isolated desert highway. Every passerby kids them about how dull and lonely this existence must be, but in the space of one night they serve host to a pair of criminals on the run, a couple of gold-diggers on the way back from Reno with their swag (and with a wise-guy chauffeur), plus a large family of Mexicans on the way to a fiesta.

The main thrust of the film is melodramatic, as even in their isolation the women cannot avoid mistreatment by treacherous men. However, it's also filled with neat little comic bits and clever wisecracks. Director Mervyn Le Roy creates plenty of atmosphere with few resources, and the cheap-jack desert-palms backdrop (with the Mexican father tenderly serenading his family in the background) sticks in the memory. Le Roy uses an almost slow-motion tracking shot to great effect to show the hallucinatory influence of an ex-lover on the older sister as he intrudes into this sweaty environment. And it's pretty clear that there's a lot of casual sleeping around going on -- a lot of the jokes and situations probably wouldn't have survived the censors if this were a more prominent picture (and definitely not a year later). But the picture never flaunts its raciness -- sex is just part of the fabric of life.

Though consistently enjoyable, the movie never builds up enough intensity to be classed with the immortal second features like Detour (though the climax does pack a punch). Surprisingly, the two leads never really click. Aline MacMahon and Ann Dvorak were always marvelously idiosyncratic in supporting roles, but here the former's baroque style seems overdone for the milieu, and the latter doesn't have much opportunity to vent her repressed passion (maybe the censor trimmed that bit). Overall, though, the performances from the many familiar faces are excellent, my particular favorite occurring in the opening scene featuring Edgar Kennedy as the henpecked spouse of Jane Darwell.

Definitely worth seeking out for aficionados (but hard to find). Some might compare it to The Petrified Forest, but it gives me a bit of an offbeat Shack Out on 101 vibe, too.

After reading several reviews that enjoyed the film, I almost did not write a comment.

However, after reading the one comparing it to a poor man's Petrified Forest, I wanted to say that's just plain unfair.

I, was not around for the New York Times drab review in 1934, like the previous reviewer, but I can form my own opinion. I really liked the movie. Aline McMahon, pulled off the difficult character of playing a woman mechanic/business owner, and Preston Foster played the crook on the lam quite believable for the situation he was in.

I personally wish Ann Dvorak had more of a developed part, I always like her, but sadly hers was the least developed of the several interesting characters in the film. Obviously made on a small budget, it's just unfair to compare this to Petrified Forest. They are not the same film at all.