La Femme aux miracles

"Beware of false prophets which will come to you in sheep's clothing… 'The Miracle Woman' is offered as a rebuke to anyone who, under the cloak of Religion, seeks to sell for gold, God's choicest gift to humanity - FAITH," introduces this grand collaboration between director Frank Capra and Barbara Stanwyck (as Florence "Faith" Fallon). A pastor's daughter, Ms. Stanwyck opens the drama by taking her recently deceased father's congregation to task for causing his death. Among the worshipers is sleazy Sam Hardy (as Bob Hornsby). Impressed by Stanwyck's Biblical knowledge and preaching skills, Mr. Hardy offers to become her manager...

Stanwyck hears Hardy pontificate, "Religion is like everything else - great if you can sell it, no good if you can give it away." She becomes a successful Christian evangelist, delivering fiery sermons to her tabernacle flock and hosting a successful radio show. The money rolls in, but sister Stanwyck is filled with isolation and guilt. Meanwhile, suicidal songwriter David Manners (as John Carson) decides not to jump out of his window when he hears Stanwyck on the radio. Also a blind ventriloquist, Mr. Manners endeavors to meet Stanwyck. She mistakes him for one of her shills, and predicts God will cure his blindness. Eventually, he heals hers...

This should have been Stanwyck's first "Best Actress" notice. The "Academy Awards" were later kind, and the "New York Film Critics" joined them in recognizing her work in "Double Indemnity" (1944). However, in hindsight, "The Miracle Woman" is undeniably award-worthy. Also notable is fine work from Mr. Capra, who worked wonders with Stanwyck and co-star Manners, perfectly cast as the blind ventriloquist, along with skilled photography by Joseph Walker, and obviously strong supporting roles. The film feels like a Bob Dylan or Pete Seeger song come to life; like those, the story fascinates with a timeless relevance.

********* The Miracle Woman (7/20/31) Frank Capra ~ Barbara Stanwyck, David Manners, Sam Hardy, Beryl Mercer

Clearheaded, consistently entertaining indictment of shear-the-sheep religion, from an unsuccessful Broadway play that starred Alice Brady, this quick-moving melodrama benefits from a terse Robert Riskin screenplay where every line counts, atmospheric Joseph Walker photography, and some very fine acting. Capra, as usual, makes his points quickly, finds humor where there's humor to be found (note the drunken party greeter repeatedly falling out of his chair), and gives even the minor characters distinctive personalities. Best of all is a blazing Barbara Stanwyck, who has a stunning first scene and doesn't let up from there, and the camera loves her. As the blind vet who adores her, David Manners plays blind very well, is un-self-consciously handsome, and minimizes the annoyingly angelic aspects of his character. It's over in an hour and a half, meaning it makes the same points as "Elmer Gantry" in about half the time, right down to the similar finale.

Stanwyck's performance in this early Capra film is underplayed, believable and quite charming. One can see how, from even this early stage, she was a performer of unique talents, perfectly suited for the new technology of sound. Her acting style is timeless, quite different from the histrionic style of the early talkies. Capra and Stanwyck took a story which could have been a ludicrously overplayed melodrama of the early 30's, and turned it into something quite captivating. Clever bits of exposition and some snappy dialogue round out this entertaining early entry in the Capra canon.

This gorgeous film is a bit too dark and too harsh on sister Aimee, but it is riveting throughout, and the best Stanwyck movie I have seen. Her acting is so much subtler than in later years. In the final scene she is absolutely ravishing. Fascinating characters, plot, cinematography, with just the right dash of nastiness. They really don't make them like this anymore. The big mystery is where, when and how did cinema learn its craft so early, and why did it lose it sometime in the fifties. Today's movies just cannot compare with this artistry. Today's movies don't look like movies at all. They rather look like documentaries about movie-making. Roll camera is the only special effect they seem know.

A preacher is tired of not getting through to his parishioners, and they are tired of him. When he is asked to leave and tries to make his final sermon, he falls ill and is unable to. Daughter Barbara Stanwyck gets behind the pulpit and tells the church they never appreciated her father and tells them off. An out-of-towner, who's a chiseler of some kind and who was passing through, was in the church and heard her. He persuades her to preach. ('Cause she has the talent for it, he says. And, that'll show these people.)

She becomes a faith healer, spouting the words and claiming to heal people, of whom this guy pays to act sick and volunteer to "be cured." Enter David Manners, who really is blind and who stands up out of pure devotion to God and the Word. He doesn't get cured but only gets closer to Babs.

But that's not what's center stage, as director Frank Capra throws at us a very personal film about faith and our relationship with God. Stanwyck tires of the scam and the plot plays out like something out of today's films, very dramatically and with a Judgment Day touch to it.

I was very impressed with everything about this movie, with Stanwyck as usual, with Manners who is probably given his best movie role here, and with the whole presentation and treatment of the subject matter which doesn't talk down to the viewer and take lightly of the situations. The viewer is immersed in her world completely.

Kudos to Frank Capra, who probably made his most adult film here, with the exception of The Bitter Tea of General Yen, also with Stanwyck. Miss this and you miss Capra and Stanwyck at their best.