blanche-2 "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.

abcj-2 First of all, I am very partial to Irene Dunne. Her natural acting trumps the affectations often used by Golden Age movie stars to put on airs in their speech and mannerisms. Dunne easily adapts to every role she plays with a presence that is always unique to her character but true to her natural charm.Secondly, Robert Taylor transformed quite a bit over his long and successful career. I prefer him in his younger years. His youthful fervor is at times petulant and at others hilarious. His range is broader when he is younger and this film is a shining example of what made him a star at MGM. Also, the script is based on a novel with strong religious convictions, but the movie isn't preachy or condescending. One can give credit to a higher power or directly to Jesus Christ himself. I thought this was handled overtly but without heaping guilt or offense on the viewer. I found it truly inspiring as a Christian and loved the theme portrayed of selfless giving. Once the selfless part registers with Taylor's character, the tone of the movie changes from playboy playful to a mature man and esteemed doctor. This is all highlighted with an excellent supporting cast and direction. The premise is what has always stopped me from watching this version and the 1950's version with Rock Hudson and Jane Wyman. Also, I'm no fan of the over-the-top Douglas Sirk melodramas. I may watch it now to compare films, but Sirk seems to grab onto the melodramatic elements in his movies which make the story so unbelievable that I cannot allow myself to be transported. I know Sirk is quite popular, but that's how I've felt about each film of his that I've seen so far.This version is by all means a soap opera, but it allows for those lighter, comical moments that often bring a juxtaposition to the heavy, thematic subject matter. There are quite a few reviews here where the plot is revealed (even the movie's summary gives away the premise). The most important device relies on this fine cast to see the drama through without making it so syrupy that one cannot enjoy their characters. Is it tragic? Yes. Is it pure melodrama? No. Thanks to the lighter moments interspersed and the aplomb with which these main actors handle their roles it is not as soapy as I expected. Will you need a box of Kleenex? Possibly. I thought I would be a mess, but there is always a hope that the audience has even when Dunne's character becomes frustrated with her limitations and how they affect those she loves. The message is ultimately so positive that it doesn't allow the tragedies to weigh it down completely.For now I have given this movie an 8. This was my first viewing. I often raise my ratings after seeing very good films again if, in fact, I ever desire to watch them again. I think this will only get better and I thank TCM for highlighting this memorable version and especially the remarkable gifted and giving actress in Irene Dunne. I highly recommend this version especially if you can see it on TCM. Their copy isn't perfect, but I imagine it would top the video transfers. It also retains the lost 7-8 minutes of the video transfers. Enjoy and prepare to be totally absorbed and perhaps have your own outlook on the themes refreshed or changed. It's a film that lingers and inspires which is about the best one can hope for in a fine film.

Richardthepianist I'm SOOOOOO Glad that the 1935 version of Magnificent Obsession is being released along with the 1954 version..The newer version is getting all the hype,etc. but it truly is the 1935 version with Irene Dunne/Robert Taylor which is the understated and much better rendering. I have a poor video quality version,but better than nothing..hope the released version has been improved in restoration.John Stahl's solid directing makes the principal characters more realistic.Robert Taylor shows a palpable presence in his first main screen venture..and of course amongst Irene Dunne's early 1930 films,this simply is one of her very best!1935..classy...1954...somewhat sappy

leecozad Magnificent Obsession - 1935 I've probably watched Universal's 1954 version of Magnificent Obsession 25 times while researching the movies made in the San Bernardino mountains. This is one of those films where there can be no doubt about its location, Lake Arrowhead. But I have always had my doubt about the original 1935 version as ever having been made in the mountains, even though one of the Captain's of the Arrowhead Queen unequivocally stated that he had heard it had been filmed at Lake Arrowhead. In my research over the years, I had never been able to ascertain one way or the other until August, 2000 at the U.C.L.A. Film Archives. The most pleasant surprise is that there is at least one identifiable scene with Lake Arrowhead in the background - including a speedboat cruising across the lake. It is a very brief scene and by far and away, the majority of the film is shot in a studio. Another equally pleasant surprise is a very young (23) Robert Taylor playing a sophisticated playboy (#1) and then an older doctor (#2) and pulling it off believably. His maturity and acting ability are evident from the first frame. Irene Dunne, who was 7 years older, is an accomplished and polished actress with only a few groans to show for her effort. (Her groping blind scenes leave you exasperated.) Comic relief is supplied by an aged Charles Butterworth, as an unlikely suitor to a very young Betty Furness, the step-daughter of Ms. Dunne. This is not the soapy Universal version done later by Rock Hudson and Jane Wyman, but a thoughtful, intelligent script that is closer to the original Lloyd C. Douglas novel, who just happened to be the screenwriter on this version. The print of the 1935 version is very dark and will probably never be shown again in public unless a restoration effort is made. Unfortunately, there are too many films to restore and only so much money available.