Heat Lightning

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.

In many ways, this film reminds me of another Warner Brothers film made just a few years later, "The Petrified Forest". Both are set at isolated gas stations in the desert and both involve gangsters who come there to seek shelter. However, the films are certainly different enough to make it worth seeing them both.

Olga (Aline MacMahon) is a world-weary soul who has chosen to move into the middle of nowhere because she's tired of people. Her sister, Myrna (Ann Dvorak), however, isn't tired of people and yearns for excitement and men-- and the pair couldn't be more different. Into their very dull and predictable lives come an assortment of folks to stay at their gas station/motor court. One pair are a couple of divorcées on their way from Reno after their latest conquest. Another are a pair of crooks on the run from the law. In a coincidence you'll only see in a play or movie, it turns out the boss (Preston Foster) was once Olga's lover! What's next? See the film.

There are two main things going for this film--Foster and MacMahon. Their characters are interesting and the final scene between them is something to see! Unfortunately, Dvorak's role is very whiny and annoying--and the character significantly impairs the film with her overwrought performance. Overall, it is worth seeing but is far from brilliant work from the studio.

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.

Nice, noir-ish 1934 quickie, with a highly likeable Lyle Talbot in the lineup, no less. The switch from location shooting to stage settings is a bit jarring, but no less so than most TV shows of the 1960s and 1970s, which went from on-site filming to a fake backdrop, sometimes within the same scene (from Gunsmoke to Mannix to the Wild, Wild West). And the sets, while not convincing, are quite artistically conceived, with a memorable heat lightning effect. The swift pacing is rather remarkable for the era, and Aline MacMahon gives a mesmerizing performance, though her character seems to shift from weak to iron-willed a little too casually. But that's where the swift pacing makes any doubtful character motivation irrelevant--the viewer is too caught up in the fascinating, nonstop story (laced with comedy bits which have held up amazingly well). Lyle Talbot makes a superb wimpy sidekick, though a couple of times he seemed to be on the verge of laughter. A gem!

Heat Lightning was an early work by George Abbott, written and directed by him in 1933 it had only a run of 44 performances in that anemic Depression Era season on Broadway. It was not the best work Abbott was ever associated with, but I'm sure he was grateful that Warner Brothers bought the screen rights in those cash strapped times.

It stars Aline McMahon and Ann Dvorak as a pair of sisters running a filling station, automobile camp out in the American west, very similar to the one Bette Davis and her family was running in The Petrified Forest. They're both a bit antsy being stuck out in the desert without the attention of the male of the species. But McMahon's been around the track a little too often and she tries to steer Dvorak right.

The guy who gave her that ride a few times is Preston Foster and he's shown up with pal Lyle Talbot. On the lam as it turns out, but the sisters don't know it. Foster's putting the moves on Dvorak and McMahon ain't having any of that. Truth be told she's got a bit of a yen still left and the desert isolation ain't curing the yen.

Some other characters pop up in this drama, a pair of would be divorcées heading for Reno with their 'chauffeur' played by Glenda Farrell, Ruth Donnelly and Frank McHugh. Also at the beginning Edgar Kennedy and Jane Darwell are a married couple going west. I wish we could have seen more of them. In fact I'm surprised that Jack Warner didn't recognize a good potential comic team there and made more films with them.

As you can see there are a lot of similarities to The Petrified Forest, but I think that even with the tragedies that befall both Humphrey Bogart and Leslie Howard there, The Petrified Forest is a more optimistic play. Bette Davis does get her chance to leave and see the wider world. Not quite what happens here, but I can't say more.

As compared to some of the legendary work George Abbott was associated with on stage Heat Lightning is definitely minor league. Yet it's not a bad piece of work, definitely in keeping with the times. Mervyn LeRoy did a good job in filling the screen and striking a nice balance between the comic and the dramatic. Very typical of what came from the working man's studio.