Le secret magnifique

I have seen both this original version and the Douglas Sirk remake from the 1950s. The two are extremely similar...so similar you might want to only see one of them. While the remake is naturally lacking in originality, it is a bit glossier and prettier due to the Technicolor as well as Sirk's style...he had a real deft hand with romances.

The story begins with the death of a famous and beloved doctor. It seems when the doctor needed life-saving equipment, it was being used on a drunk playboy who has pretty much led a selfish and worthless life. He feels bad about this, at least as much as he can at this point. But later when his actions ALSO cause the widow to become blinded, he suffers a huge crisis and dedicates his life to helping her and others.

Robert Taylor and Irene Dunne are very good here. But I didn't rate fhe film higher simply because while enjoyable, the film certainly seemed far-fetched and a bit schmaltzy. Still, it is worth seeing.

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.

"Magnificent Obsession" is a 1935 film starring Irene Dunne and Robert Taylor; it was remade in the '50s in Technicolor and starred Jane Wyman and Rock Hudson. The story is preposterous, the melodrama is over the top, but this film gave both Taylor, a farm boy from Nebraska and Hudson, a truck driver from Illinois, their big breaks.

Robert Merrick (Taylor) is a drunken playboy who, one afternoon, falls off his sailboat and has to be resuscitated with the use of what's called in this film a "pulmotor," a device that forces oxygen into the lungs.

Unfortunately, the pulmotor was needed across the lake for an older man, a Dr. Hudson, who has had a heart attack, but because one isn't available, the man dies. When his wife (Dunne) and daughter (Betty Furness) arrive home, they get the horrible news. There is bitterness everywhere because Dr. Hudson was beloved, a fine doctor and an exceptional man, and Merrick is a drunken, rich loser.

At one point, Merrick meets a man (Ralph Morgan) who gives him the secret philosophy that Dr. Hudson lived by and taught him - give anonymously and without expecting repayment.

When Merrick spots Mrs. Hudson, he has no idea who she is and tries to pick her up. One day, he offers her a ride and "runs out of gas." As she's leaving the car to take a ride with someone else, a car hits her and she is badly injured - in fact, she's blinded.

Merrick now befriends her in the park, where she sits practicing her Braille. He doesn't identify himself - she calls him "Dr. Robert"; he tells her that he once had aspirations to be a doctor himself. He arranges for her to have a steady income, since Dr. Hudson gave most of his money away and only has worthless stocks - she thinks her husband's copper stocks are now worth a lot -- and then he arranges for some of the finest doctors in the world to meet in Paris and study her. She thinks it's because her husband was so highly regarded. Alas, the prognosis is that the doctors see no point in surgery. It goes on from there, assuming fabulous aspects.

This kind of melodrama was extremely popular in the 1930s; director Douglas Sirk loved this type of film and remade some of them in the '50s, giving them big, glitzy productions, and made some new ones as well.

Though today the plot seems ridiculous, because of the commitment and likability of the actors and the spiritual undertone that goes throughout the film, somehow one doesn't stop watching, and it sure worked well in 1935 and 1954.

Robert Taylor is gloriously handsome, known for his perfect profile, resonant speaking voice, and charming presence. I have never considered him much of an actor, but he was my mother's favorite, and I watch him every time he's on TCM in her honor. He holds the record for being employed by a studio the longest - 24 years with MGM, until it dissolved, and went on to more films, a successful television show, and he replaced Ronald Reagan on Death Valley Days.

Irene Dunne gives a lovely performance without histrionics or being overdone in any way.

Good movie? For what it is, yes.