User reviews

Douglas Sirk directed a lot of films that capitalized on the melodramas that were highly popular in the fifties. In "Magnificent Obsession" he shows why he was probably the man that was born to direct this film, as well as others of the genre. This is a remake of the film of 1935, which had been a vehicle for Irene Dunne and Robert Taylor.

Jane Wyman and Rock Hudson seemed to be unlikely candidates for playing a romantic couple in the movies. After all, Ms. Wyman was older than Mr. Hudson and clearly appeared to be in the film. The story, which is based on LLoyd Douglas novel, has a little bit of everything.

"Magnificent Obsession" proved to be a hit for its stars. In a way, it's easy to see why fans were attracted to it, with its many twists and turns and the impossible love between Helen and Dr. Bob Merrick, the playboy who becomes contrite after he causes the accident that makes Helen blind. Also in the cast the magnificent Agnes Moorehead, who has great moments in the film.

I am a Douglas Sirk devotee and regard him as one of the screen's more underrated directors. Having said that, I regard "Magnificent Obsession" as a bit much, even for Sirk. I like Sirk because, even though he is a master of soapers, he is more than that. His films contain social commentaries that are often biting, and they often contain good character studies. In this preachy film the social commentary is absent and the characters are one dimensional. But I can forgive all this because the acting is good--Wyman, Kruger, and Moorhead are excellent--and Sirk showed that Rock Hudson could act if properly directed. This was Hudson's breakthrough film. But the music is almost too much to bear! I have never heard such wretchedly maudlin, and loud, movie music in my life. The heavenly choruses in the background are shameless. In spite of all this, however, it is all quite entertaining. 7/10

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.

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.

The reckless and arrogant playboy Robert Merrick (Rock Hudson) has an accident with his motorboat but he is resuscitated with the resuscitator of the famous Dr. Wayne Phillips. Coincidently at the same time, Dr. Phillips has a heart attack and needs his apparatus, but he dies. Dr. Phillips's young wife, Helen (Jane Wyman), and his daughter Joyce (Barbara Rush) blame Bob Merrick for his irresponsibility and hate him. Sooner they discover that Dr. Phillips had secretly helped many people that adore him. When Merrick sees Helen Hudson, he flirts with her, but his unrequited affection irritates her. One day, Merrick is drunk and meets the artist Edward Randolph (Otto Kruger) by chance and he learns that Dr. Phillips secretly helped people without expecting any return or acknowledgement. One day, Merrick sees Helen in a restaurant and gets in her taxi. However Helen leaves the car upset with Merrick, another car runs over Helen and she becomes blind. Later Merrick meets Helen on the beach and lures her, introducing himself as Robinson. Meanwhile he financially helps her and hires a team of specialists to examine Helen in Switzerland. Helen is examined but the doctors advise her that they will not operate her. Meanwhile Merrick and Helen fall in love with each other but when Merrick proposes her, he discloses his true identity. On the next morning, Helen vanishes without any trace from the hotel with her nurse and friend Nancy (Agnes Moorehead). Merrick studies medicine and years later, he returns to Detroit and Randolph tells him that Helen is very sick in a small sanatorium in New Mexico. He heads to meet Helen with Randolph and finds her terminal, needing an urgent surgery. Without alternative, he has to operate her.

"Magnificent Obsession" is a remake without the magnetism of the original film. The story has minor modifications, actually updates and color, but the black and white movie of 1935 is better and better. The charm and chemistry of Irene Dunne and Robert Taylor are unrivalled. My vote is six.

Title (Brazil): "Sublime Obsessão" ("Sublime Obsession")

This is a nice remake of the classic 1935 film of the same title that starred Irene Dunne and Robert Taylor, this 1954 adaptation is fathful to former original . This time is starred by Jane Wyman and Rock Hudson, both of whom give fine acting . It deals with a drunken playboy : Rock Hudson inadvertently causes death Jane Wyman's husband, but then Wyman to be knocked down in an automobile accident and eventually blinded. The the alcoholic playboy plagued by guilt leaves his previous roguish life and devots his existence to studying medicine in order to restore the widow's sight . Stricken with remorse , he gets redemption by becoming a surgeon and attempting to cure her . The story of a woman's need for a man that will become one of the great emotional tour lifetime ¡ .The great love story by the author of "The Robe" by Lloyd C. Douglas . Here is a love story that will become one of the deepest emotional thrills of your lifetime !.

A melodramatic movie with emotion , romance , fatalism, sacrifice and tragedy . Starring duo are pretty well, Rock Hudson as the playboy who for a deep feeeling of guilt he becomes a brain surgery, though he looks a touch bewildered but toughs it out , this role lifted Rock to stardom. However , this character was firstly offered to Jeff Chandler , but he turned down, the reason for considering the film was too much soapy . While Jane Wyman as the mature widow takes it in her stride, she had Academy Award Nomination but lost to Audrey Hepburn for "Roman Holiday" directed by William Wyler . Other secondaries are frankly well , such as : Barbara Rush , Paul Cavanagh , Otto Kruger , Gregg Palmer, Richard Cutting, Mae Clarke and Agnes Moorehead.

It contains luxurious and colorful cinematography by Russell Metty . As well as sensitive and romantic musical by Frank Skinner .The motion picture lavishly produced Universal Pictures/Ross Hunter was compellingly directed by Douglas Sirk. He was an expert on melodrama, though also made other genres , such as : " A scandal in París" "Lured", "First Legion", "All I desire", "All the Heaven allows", "Written on the Wind", "Tarnished Angels", "Battle Hymn" , "Thunderbolt and Lightfoot" , "Athila King of Huns" , "A Time to Love and a Time to Die" , "Imitation of Life" , among others. The yarn will appeal to Rock Hudson and Jane Wyman fans . Rating : 7/10. Better than average . Well worth seeing .

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.

In the '50s the films of Douglas Sirk were highly appreciated by women and not held in very high esteem by critics (they regarded his films as weepies).

Today it is the other way around. Today critics see the subtle criticism on the hypocrisy of the 50's consumer society through the surface of the amazing technicolor images. This is especially evident in a film like "All that heaven allows" (1955).

"Magnificent obsession" was made one year earlier, with the same lead actors (Rock Hudson and Jane Wyman). More important is that this film is not so much on the level of society as a whole but much more on the individual level. A conceited millionaire who becomes righteous through his love for a blind woman.

This film has relations with "The game" (1997, David Fincher, spoiled millionaire) and "City lights" (1931, Charlie Chaplin, blind girl). From the book (1929, Lloyd C. Douglas) it also has an unmistakable christian undertone. Its theme is derived from the gospel of St Matthew 6:1-4. Good deeds have te be performed in silence.

Looking back on the abbreviated career of Douglas Sirk, "Magnificent Obsession" rises above being just another "woman's film" or "weepie". It actually serves as a notable turning point as it is the first in a string of Technicolor melodramas Sirk helmed at Universal-International, as well as one of his most popular. It also kick-started the malnourished career of Rock Hudson and sent his fame into another realm. Despite the film's lame-brained premise and endless implausibilities, Sirk takes the material and dishes out a sweet, moving drama that is a thinly disguised tale of Christianity.

Hudson stars as Bob Merrick, a millionaire playboy with no cares in the world. His lavish and self-serving lifestyle inadvertently leads to the death of a prominent local doctor, Wayne Phillips. Dr.Phillip's widow, Helen(Jane Wyman)tries to pick up the pieces of her shattered life, while at the same time resisting the advances of Bob Merrick. His persistence results in an accident in which Helen goes blind. In a convoluted and corny twist, Bob tries to redeem himself by giving selflessly to others and devoting his life to medicine to find a way to restore Helen's eyesight.

Every stereotype of every soap opera convention is used in overwhelming doses to tell the story of "Magnificent Obsession". The "alternative lifestyle" of Christianity that Bob learns is a mish-mash of psychobabble that even the most detail-oriented viewer would find boring and confusing. And the seriousness in which the actors take the material is eye-rollingly unbelievable. But this film is saved by the always-savvy direction of Douglas Sirk(who himself hated the plot)and an elegant, understated Jane Wyman who brought her own brand of sophistication to every role she played - and was Oscar-nominated for this role. Even Hudson is able to overcome his nerves in his first leading, A-list role to give a performance that is convincing. Sirk's use of reflective surfaces and a dominating color palette give this movie a look that is undeniably sheen. And Frank Skinner's classical score takes the ordinary material to an emotional level; although the choral "oohs and aahs" on the soundtrack are a bit pungent for such a quiet film. This is not Sirk's best work, but it is definitely solid enough to engage first time viewers and a must for fans of the German-bred director's work.

This movie was pretty bad, i didn't buy hardly anything that happend, it all seemed so far-fetched, like Rock Hudson all of a sudden becoming a doctor, and a lot of other stuff too. Rock Hudson and Jane Wyman are only OK but were better in all that heaven allows. Watch All that heaven allows or written on the wind instead.

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.

When churlish, spoiled rich man Bob Merrick foolishly wrecks his speed boat, the rescue team resuscitates him with equipment that is therefore unavailable to aid a local hero, Dr. Wayne Phillips, who dies as a result. Phillips had helped many people, and when Merrick learns Phillips' secret, to give selflessly and in secret, he tries it in a ham-handed way.

"Magnificent Obsession" was an early starring role for Hudson, and, according to Wyman, he was very nervous. Some of his scenes had to be re-shot 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." Douglas Sirk mastered the melodrama, and had the greatest color palettes. He also really knew how to utilize Rock Hudson. I don't know much about his personal life, but it strikes me as interesting that Sirk is now championed in some gay circles. Did Sirk know his star, Hudson, was gay? He certainly could have... though this would have been unusual in the 1950s.

As a (doctor's novel, modern fairy tale) another successful film by Sirk (although I thought it was a bit less than his other top films).

The least elaborated was the transformation of Hudson's character, from egocentric to compassionate full of goodness, the discussion above whether or not this was seriously meant by Sirk is interesting but of course remains a question mark.

Then comes the scene where Hudson Wyman confesses his true identity. I found myself expecting (thinking in modern film narratives) that she would go crazy, which doesn't happen.

Modern rom-coms often tend to equate the drama with as many emotional (anger) outbursts as possible, and that often has a rather counterproductive effect.

Less is more is really the magic word here because this scene is a lot more satisfying.

Magnificent Obsession is adapted from a novel by Lloyd C Douglas, and it had been previously filmed back in 1935 with Irene Dunne and Robert Taylor in the leads. Here the piece is directed by melodrama maestro Douglas Sirk and features Jane Wyman and Rock Hudson as the emotionally charged leads. The story revolves around Bob Merrick (Hudson), a playboy who is inadvertently responsible for the death of Helen Phillips' (Wyman) husband. As he starts to find a soul in amongst his playboy image, he desperately wants to make peace with Helen, but during his efforts to apologise she is tragically blinded in an accident. As Helen recuperates, Bob worms his way into Helen's life by posing as someone else, they amazingly start to fall in love, but the truth will out and tragedy seems to permanently hover over this newly formed alliance.

As with the best of Douglas Sirk, Magnificent Obsession is loaded with drama and unashamed assaults on the viewers emotional fortitude. It is quite simply a weeper, a stress relief server for those so inclined. No bad thing that, though, just as long as the viewer is fully aware of the type of film they are getting. To only market it as a romance piece is something of a disservice because at the core it's one of redemption, where even religion is neatly threaded into the deftly assembled script. Technically it has a lot going for it, Frank Skinner's score is smoothly gorgeous, with Chopin's Études perfectly accompanying the blossoming romance, while the colour photography from Russell Metty is sensibly unobtrusive. Rock Hudson would jump on to the map with his performance here (proving he could act if given the meat to chew on), and Wyman would get Oscar nomination for her emotionally driven turn. All in all it's a film that's well worth watching, on proviso if you choose to be in that weeper frame of mind! 7.5/10

Douglas Sirk is known as the melodrama man,but all his movies are not exactly what we call melodrama:"All that heaven allows" and"tarnished angels" are closer to realist stories;"A time to love and a time to die" transcends melodrama to become a tragedy.Three major movies seem to belong to the genre:"written on the wind" "imitation of life " and of course this one."Magnificent obsession " has a plot so unlikely,so incredible that,in the hands of a lesser talent,it would have gathered nothing but horse -laugh:The beginning of the film is a succession of coincidences and combinations of circumstances so improbable you wonder whether Sirk will get away with it.Against all odds,he succeeds in this absurd task.Someone tells the hero that the one who devotes his life to others has chosen the rocky road,someone has been crucified for that.But once he has begun,this task will obsess him,and it's a magnificent obsession.So the selfish hero will undo the harm he's done . It's a double feat:Hudson's struggle is moving and Sirk ,who goes for broke,pulls off this extravaganza with panache.

Rich spoiled playboy Rock Hudson is indirectly responsible for a great doctor's death. The doctor's widow (Jane Wyman) and daughter (Barbara Rush) never want to see him. He tries to make amends but, because of him, Wyman is hit by a car and loses her eyesight. He tries to see her but she won't see him. Then he accidentally meets her and pretends he's someone else. He falls in love with her...but can he tell her who he really is?

OK--the above scenario is gag-worthy but it actually works--for a while. The beautiful Technicolor is just great and the film looks just perfect. Also there's good acting by Wyman, Hudson and Rush. Also good is Agnes Moorehead as a nurse. BUT it falls apart during the last half hour.

SPOILERS IN THE NEXT PARAGRAPH

He's a doctor and she is near death. He can't preform the operation but does anyways. She recovers fine AND regains her eyesight!!!!! This was just hilarious! I basically couldn't stop smirking. It was so ridiculous and over the top I find it hard to believe even audiences of 1954 took this seriously!

Also there's hysterically bad back projections (where they kidding with those?) . And there's even a heavenly choir ahhhing on the music! I was able to handle all this--until that asinine ending. There's only so much I can take!

Sort of worth seeing--I'm giving it a 7 for the acting and beautiful Technicolor. But that ending...!

Is this film farfetched, is this film over the top? You betcha, but is this film entertaining and emotional tear jerker, you bet! Director Douglas Sirk and producer Ross Hunter display a real reverence for the material and have done their very best to update it for 50s audiences. Rock Hudson is perfectly cast and so is Jane Wyman, although she may be too old for this role. The entire cast does well, especially Agnes Morehead, in a thankless role as the devoted and sacrificing nurse and friend. I recommend highly, although the film may be a little bit longer than it should be. It should compare favorable to its earlier interpretation.