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Le secret magnifique

Original title: Magnificent Obsession
  • 1954
  • Tous publics
  • 1h 48m
IMDb RATING
7.0/10
8.1K
YOUR RATING
Le secret magnifique (1954)
Classic love story involving a man who falls for the woman who's husband's death he is indirectly responsible for
Play trailer2:24
1 Video
79 Photos
DramaRomance

A rich playboy whose recklessness inadvertently causes the death of a prominent doctor tries to make amends to his widow, and falls for her in the process.A rich playboy whose recklessness inadvertently causes the death of a prominent doctor tries to make amends to his widow, and falls for her in the process.A rich playboy whose recklessness inadvertently causes the death of a prominent doctor tries to make amends to his widow, and falls for her in the process.

  • Director
    • Douglas Sirk
  • Writers
    • Lloyd C. Douglas
    • Robert Blees
    • Wells Root
  • Stars
    • Jane Wyman
    • Rock Hudson
    • Agnes Moorehead
  • See production info at IMDbPro
  • IMDb RATING
    7.0/10
    8.1K
    YOUR RATING
    • Director
      • Douglas Sirk
    • Writers
      • Lloyd C. Douglas
      • Robert Blees
      • Wells Root
    • Stars
      • Jane Wyman
      • Rock Hudson
      • Agnes Moorehead
    • 97User reviews
    • 64Critic reviews
    • 77Metascore
  • See production info at IMDbPro
    • Nominated for 1 Oscar
      • 2 wins & 1 nomination total

    Videos1

    Magnificent Obsession
    Trailer 2:24
    Magnificent Obsession

    Photos78

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    Top cast49

    Edit
    Jane Wyman
    Jane Wyman
    • Helen Phillips
    Rock Hudson
    Rock Hudson
    • Bob Merrick
    Agnes Moorehead
    Agnes Moorehead
    • Nancy Ashford
    Otto Kruger
    Otto Kruger
    • Randolph
    Barbara Rush
    Barbara Rush
    • Joyce Phillips
    Gregg Palmer
    Gregg Palmer
    • Tom Masterson
    Paul Cavanagh
    Paul Cavanagh
    • Dr. Giraud
    Sara Shane
    Sara Shane
    • Valerie
    Richard H. Cutting
    Richard H. Cutting
    • Dr. Dodge
    Judy Nugent
    Judy Nugent
    • Judy
    Helen Kleeb
    Helen Kleeb
    • Mrs. Eden
    Rudolph Anders
    Rudolph Anders
    • Dr. Fuss
    Fred Nurney
    Fred Nurney
    • Dr. Laradetti
    John Mylong
    John Mylong
    • Dr. Hofer
    Alexander Campbell
    Alexander Campbell
    • Dr. Allan
    Mae Clarke
    Mae Clarke
    • Mrs. Miller
    Harvey Grant
    • Chris
    Joseph Mell
    Joseph Mell
    • Dan
    • (as Joe Mell)
    • Director
      • Douglas Sirk
    • Writers
      • Lloyd C. Douglas
      • Robert Blees
      • Wells Root
    • All cast & crew
    • Production, box office & more at IMDbPro

    User reviews97

    7.08.1K
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    Featured reviews

    10grahamclarke

    A magnificent obsession indeed

    My unashamed love for the films of Douglas Sirk may be described as an obsession, but it is to me, of course, a magnificent obsession. My attempts to influence others as to Sirk's genius have mostly failed. He's a director whose work you either get, or not. Those who view his works as camp masterpieces are very much missing the point. What is intrinsic in works of camp is the end product being appreciated in a manner that the creator had not intended. However, every camera angle of each frame, every nuance, indeed every color in every shot is totally intentional in all of Sirk's major films.

    "Magnificent Obsession" is far from Sirk's best work, but it is perhaps his most important. Though he had made films in many genres, it was "All I Desire", his 1952 melodrama that paved the way for what would become his special place in cinema history. In the often ridiculed genre of so called "woman's movies", Sirk discovered there was great scope for artistic expression as well as social criticism and much more in this apparently vacuous genre. "Magnificent Obsession" is the first film in which this vision is realised.

    To understand why this happened at all one must remember that Sirk was under a long term contract with Universal throughout the fifties, when they were by all accounts an inferior studio. As an European immigrant in need of work, Sirk signed to Universal, with the full understanding of the type of projects that would be offered to him. His intellectual and rich theatrical background would be put to use in clearly inferior material. When asked about this, he gave the example of how many of Shakespeare's plots are weak and uninteresting in themselves; it's the language that makes them art. Sirk was a master of cinematic language in all its aspects. The plots of his movies are often truly abysmal, but the language always pure joy to behold. "Magnificent Obsession" is a prime example of the abyss between screenplay and the cinematic language employed.

    After reading the script of "Magnificent Obsession", Sirk called the plot "crazy" and did not want to make it. But as a contracted director, he had little sway with the studio heads and was persuaded, as always, to make the movie. It should be noted that he never had a bad word to say about Universal, even after he left Hollywood. He fully understood the contract he had made and simply made the best of his situation. It should also be noted that he gave Universal some of their greatest commercial successes of the decade, and created for them a star leading man, something they were in desperate need of. That star was Rock Hudson. "Magnificent Obsession" was Hudson's breakthrough film. He made eight films together with Sirk.

    The magnificent obsession in question is the quest for spirituality; not exactly high on the agenda of materialistic, picture perfect, upper class American society of the fifties. Bob Merrick (Rock Hudson) is a shallow, womanizing, heavy drinking, spoiled playboy. The movie charts his journey towards spirituality. He is guided on this path by an older intellectual artist, Edward Randolph (Otto Kruger). Many critics have noted the physical similarities between Kruger and Sirk himself. It's almost irresistible to develop this notion. It is Randolph who despite Merrick's crass behavior perceives a potential for greater things and leads him towards self fulfillment.

    Similarly it was Sirk who first spotted Rock Hudson's star potential. Under his guidance and direction, Hudson would in a matter of two to three years, become one the most popular actors in Hollywood. Having worked closely on eight films, it would seem absurd that Sirk was not aware of Hudson's homosexuality. This did not deter Sirk, (who himself was not gay). Moreover it fits well with his fascination for what he termed "split characters". It's the embodiment of fifties picture perfect appearance shielding a very different reality that is central to much of Sirk's work.

    Edward Randolph quietly removes himself when he realises his protégé has finally found his new self. His work is done. While Hudson was no heavyweight in the acting stakes, under Sirk's direction he gave some very respectable performances, "Magnificent Obsession" amongst his best. His post Sirk career would soon take him to Doris Day territory, a far cry from the likes of "Written on the Wind", "Tarnished Angels" and "Battle Hymn".

    All of Sirk's films are worth taking a close look at, particularly from "Magnificent Obsession" onwards. There are a handful of directors who so well grasped the possibilities of film making and possessed the know how in using the many elements that make up this art form.
    5scwaldo-1

    Suspend Reality

    Jane Wyman is stiff and motionless both before and after becoming blind. She reacts to bad news as though someone has just told her the morning paper has been mislaid. She seems so much older than Rock Hudson that the love interest between them is unbelievable and seems silly. I thought she seems old enough to be his mother. Why do blind people in movies not recognize the voice of someone known prior to blindness? This also makes the story unbelievable. There is much music, mostly Chopin, in the background (coming to the foreground frequently). Rock Hudson's car is one of the most interesting items in this movie. A blind person would surely recognize the sound, smell, feel of a car like this! Based on this car and Hudson's valiant work to carry this movie, I give this a 5 star rating.
    Kirpianuscus

    beautiful

    romanticism. Rock Hudson in one of his most interesting roles. drama and flavor of soap opera and fragments from atmosphere of a lost time. a film about true love against mistakes and errors from past and illusions. sure, not a great one but perfect for the admirers of the director and actors and as refuge in a pink place. but Magnificent Obsession has the gift to be more than a nice movie. but the occasion for discover the art of Jane Wyman and Rock Hudson to explore the details of roles in wise manner. to say a great story about the second chance. and, sure, about the force of love. so, in strange manner, a memorable film. fascinating, sure, first for the performances of the lead actors.
    Ben_Cheshire

    Fairy-tale coloured technicolour eye-candy from Sirk.

    Bob Merrick (Rock Hudson) gets his commuppance and learns to be not such a reckless rich twat, with the help of a fairy godfather and falling in love with a woman he made go blind!

    If you've never heard of Douglas Sirk, be prepared that this will be melodrama city. Production values are superb, though. Sirk was a very talented craftsman, as well as creating a beautiful aesthetic for these films.

    Sirk made the hospital and the classic American home look as artificial and sanitised as he could: with lipstick so bright and full the lips jump off the faces, sculpted hair and good looks, everything in its right place and colours so stark it looks like a children's colour book. These locales are contrasted with a couple of other places, darkly beautiful: the scene where Rock is sitting at a bar, which starts with the rather loose and drunk looking woman leaning up against the wall, with curls of cigarette smoke and beautiful light in the background. The other is the night scene in Paris, with such exquisite light coming through the doors of the apartment.

    Rock is actually pretty good in the film, and really perfect looking. I can see why Sirk picked him out - he's a Ken doll - playing the fantasy American: rich, beautiful and devil-may-care. And after this flick, he was also a star.

    3/5. I liked La Habanera better, though.
    6HotToastyRag

    Better than the original

    Having seen both versions of Magnificent Obsession, I have to say I prefer the remake. It's glossier and more melodramatic, which is the point of such a soapy story. However, neither movie grabs me or makes me reach for the Kleenex box. In 1936, I couldn't stand Robert Taylor, and in 1954, I didn't like Jane Wyman very much. Mild dislike wins out over an intense one, so if you're going to rent one of the versions, I'd recommend this one.

    Rock Hudson is a careless playboy, and when he endangers himself in a senseless accident, he uses up valuable emergency medical equipment that could have gone to someone else-literally. Because the equipment was used to save Rock's life, a beloved doctor in a nearby hospital died. Rock feels very guilty and tries to make it up to the man's widow, Jane Wyman, but she understandably hates him and can't forgive him. Then, in another cruel twist of fate, Rock accidentally hits Jane with his car and blinds her! The movie is titled Magnificent Obsession because he makes it his mission to make up for all the wrong he's done to her, so if that story appeals to you, you'll probably like it.

    It really is an interesting, melodramatic story that could have stood another remake. If you like the chemistry of the two leads, you can check out the other romance they made together, All That Heaven Allows. I would have preferred another choice for this movie's lead, someone more tragic like Jennifer Jones or Susan Hayward. Then again, Jane Wyman did play tragic figures in Johnny Belinda and The Glass Menagerie, so if you like her style, you might really like her in this.

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    Storyline

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    Did you know

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    • Trivia
      This film was an early starring role for Rock Hudson, and, according to Jane Wyman, he was very nervous. Some of his scenes had to be reshot thirty or forty times, but Wyman never said a word. Reportedly, years later at a party, Hudson ran into Wyman and said, "You were nice to me when you didn't have to be, and I want you to know that I thank you and love you for it."
    • Goofs
      At the accident scene, as the taxicab door closes, it is seen that there is no damage to it.
    • Quotes

      [last lines]

      Edward Randolph: Once you find the way, you'll be bound. It will obsess you. but believe me, it will be a magnificent obsession.

    • Connections
      Featured in Behind the Mirror: A Profile of Douglas Sirk (1979)
    • Soundtracks
      Consolations, S. 172 No. 3 in D flat major - Lento, placido
      Written by Franz Liszt

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    FAQ16

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    Details

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    • Release date
      • May 18, 1955 (France)
    • Country of origin
      • United States
    • Languages
      • English
      • German
    • Also known as
      • Magnificent Obsession
    • Filming locations
      • Big Bear Valley, San Bernardino National Forest, California, USA
    • Production company
      • Universal International Pictures (UI)
    • See more company credits at IMDbPro

    Tech specs

    Edit
    • Runtime
      • 1h 48m(108 min)
    • Color
      • Color
    • Aspect ratio
      • 2.00 : 1

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