Lágrimas do Céu

The skeptical reviewers miss the point. In fact, they take the position of Lizzie herself before she begins to believe in herself.

That some of this movie appears hokey, over-the-top and unbelievable is perfect. It requires the same leap of faith for the movie viewer as the characters must take in the story.

The script for this movie is brilliantly written and as timely today as it ever was. The casting and acting are wonderful.

This movie makes a very valuable point: It's not a con when you help someone believe in herself. You do something wonderful when you help another find hope, faith and love.

When The Rainmaker came to Hollywood it was decided to get a couple of movie star names with some box office draw to replace the Broadway leads of Darren McGavin and Geraldine Page. The Rainmaker ran for 164 performances in the 1954-1955 season on Broadway and got good critical notices.

Paramount wisely retained the services of playwright N. Richard Nash to do the screen version and he very nicely expanded the play which on Broadway was set in the Curry parlor to include all kinds of outdoor scenes. But the biggest thing they did was signing Burt Lancaster and Katharine Hepburn as the leads.

Hepburn plays somewhat against type, though not apparently so. She manages to successfully hide her Bryn Mawr speech and does do well as a mid western spinster. The last time Kate went middle west it was for Alice Adams over 20 years before.

But Lizzie Curry is no silly little girl like Alice was. She's an educated woman, a little too smart for most of the town folk where she lives. She intimidates them with her education. In fact she's being unfairly contrasted with Yvonne Lime who plays a silly flirt that her younger brother Earl Holliman is stuck on.

Into her life comes Starbuck who says he can make it rain for $100.00 of Curry money that father Camerone Prudhomme forks over, much to older son Lloyd Bridges's objections. As Starbuck, Burt Lancaster is in dress rehearsal for his Oscar winning role as Elmer Gantry five years later. Lancaster gives Hepburn the great romance she's been seeking and needs in the same manner he wooed Sister Sharon Falconer in Elmer Gantry.

My favorites in The Rainmaker are Hepburn's two brothers, Holliman and Bridges. Holliman in fact got a Golden Globe Award and young Earl more than held his own against this experienced group of veteran players. He's not terribly bright as he was in a whole lot of his early roles, but Earl has a good heart. Bridges is this control freak of a brother to whom the father has ceded much authority in the family and the running of their ranch. Cameron Prudhomme is the only one from the Broadway cast appearing in the film.

Rounding out the cast are Wallace Ford and Wendell Corey as the sheriff and deputy who are both on Lancaster's trail and who the Currys try desperately to fix their sister up with. Corey has a few issues of his own to resolve however.

Katharine Hepburn got one of her Best Actress Academy Award nominations for The Rainmaker, but she lost to Ingrid Bergman in Anastasia. The Rainmaker holds up very well for today's audience. After all, every family has some member they're trying to see happily wedded.

I'll say it like it is. This is a classic. Nash's play comes to live on the silver screen with veteran actors Cameron Prud'homme, Wallace Ford, Katie Hepburn and Earl Holliman. Wendell Corey, who few of us remember beyond his breaking a Ming Vase in Mildred Pierce, is great as the stiff deputy. Sweet little Yvonne Lime is on but for a few moments but the cast is great and the story comes together just wonderfully. The commenter who was bothered by Katie's New England English and the implausibility of the storyline needed to let go of such a rigid standard. Nothing is ever perfect. Lancaster is great as the fast-talking Starbuck and one can see flashes of his former role as the Italian buffoon in The Rose Tattoo and what will come in the later Elmer Gantry. This is a wonderful story and sensitively done by a fine cast. Check it out. It is a classic.

When I was younger & first saw this movie, what caught my eye was the stage-y production, the over-ripe acting- I was wrong. It's funny, but being a late 30-something divorcee with my own self-esteem issues, I now watch this movie & marvel at its depth.

This is a movie about so much more than a con man, an old maid and people stuck and unable to change. It's really about loving yourself. We've all heard the saying that you have to love yourself before someone else can love you. And that is what this movie is about. Believing in yourself even when that's the hardest thing. It's really the crux of the movie.

The casting is actually perfect. I cannot imagine anyone else as Starbuck. Burt Lancaster's magnetism and on-screen "je ne ce qua" and Hepburn's radiant simplicity are a match made in heaven. They compliment each other very well. The supporting cast is also well done. Holliman's exuberance is contagious and the sweetly supporting father and no nonsense brother Noah are well done but not over done.

I highly recommend this movie. Give it a chance & suspend your disbelief- that's part of what going to the movies is about.

P.S. Several people mentioned the last scene with Lancaster riding into the rain as being over done, cheesy or whatever. Yet it's just that kind of imagery that does indeed stick with you after the movie. It may seem overblown the first time, yet upon subsequent viewings, I love the effusive and memorable affect it has on the viewer. :)

Much has been made of the fact that nearly all of the actors were too old to comfortably inhabit their roles, which I think is crap. I don't think Hepburn's character felt anything other than genuine nor did it seem as if she were playing a character younger than her years. For one, she was a pretty well-preserved 49 - but that's almost beside the point. The point, I think being, is that no matter what your age or station, dreams will infuse you with beauty and purpose, so never abandon them. Sure, there were show-boaty moments (the final scene of the Rainmaker riding off springs to mind) - but this was made in 1956, after all, and gestures tended to be a little more expansive. Context, people, context.