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  • Many of Capra's films point out the nobility of small town America, but here he seems to be doing just the opposite - bringing to light how one small town has just fired their preacher for the unpardonable sin of aging and hired a younger man to replace him without a backwards glance to the consequences to the displaced older man. The old preacher dies dictating his last sermon. We don't see this but we hear it from his daughter Florence played by Barbara Stanwyck. The farewell sermon she gives the parishioners has them walking out - or should I say running - as she calls them murderers, thieves, adulterers, closet drunks - being the preacher's daughter she knows where the bodies are buried and she tells them. A con man is in the congregation for some reason and he says if she wants to get even - and rich - she should run a faith healing con on this same type of small town hypocrite. The world is full of them according to her mentor.

    The plan works - Florence is as fiery as a fake preacher as she was as a real one and soon the two are rolling in dough with the help of lots of paid fakers. What makes it easy is that the crowd seems to be there for a circus more than a sermon and they do certainly get their money's worth and ask no questions. However, Florence soon has double trouble on her hands. It turns out that her mentor has a darker side than she figured on who keeps her on a very short leash, and then there is the appearance into her life of a man who was blinded in WWI - David Manners as John, a failed songwriter, who claims one of her radio sermons kept him from jumping from his high rise apartment window to his death.

    What is good about this film? Stanwyck of course. Just a couple of years after sound came into films the lady is fire and ice with the spoken word. Plus even in these early films Capra is visiting the themes of depression, class warfare, suicide, the forgotten man, the power of the individual, and the madness and fickleness of the mob - all which show up in his later efforts.

    What holds the film back is the rather unexplained relationship between Manners' and Stanwyck's characters. There just doesn't seem to be any reason for them to be together other than that each would be completely alone in the world as far as human comfort goes without the other due to their isolated existences. In spite of that, their relationship and scenes together are believable.

    Overall, this film does a good job of exploring the fact that for those who lose their faith, it's usually not God that's hard to love but rather the people He created due to their overall indifference towards anything outside of their own little world.
  • Warning: Spoilers
    It is not often that I am impressed by early-talkies. This film was made only 2 years after Barbara Stanwyck's first credited role in a talkie. And, it was directed by Frank Capra, and was quite ambitious.

    The plot involves "Florence Fallon" (Stanwyck), who goes on a rant in church when her old minister father is fired after many years of service to a Protestant church. Her rant impresses con man who leads her into becoming a phony faith healer who begins to rake in thousands of dollars. She builds up a widespread following through her miracles and radio broadcasts. But then she meets a blind man with whom she falls in love, and during a massive church fire the sham vanishes and Fallon joins the Salvation Army.

    Often, movies at this time had holes in their scripts. While there are times that this film needs a slightly faster pace, and there are themes could be expanded on a bit, and there is a need for more background music...well, that's the early 1930s. But there are no holes in this script, and in fact it's thought out rather well. There certainly are some parallels here with the life of Aimee Semple Mcpherson, however, this film is hardly biographical (where's Milton Berle? -- look that one up! :-) ).

    This film will keep your attention despite being quite old-fashioned; and while it is old-fashioned, I would have to say it was ahead of its time. Recommended.
  • Barbara Stanwyck is "The Miracle Woman" in this 1931 film directed by Frank Capra and also starring David Manners.

    Stanwyck plays Florence Fallon, the daughter of a religious leader who becomes angry and bitter toward her father's congregation when he is ousted and later dies. She is approached by a promoter who launches her on a preaching career with an audience loaded with shills, while he collects money for an alleged tabernacle and makes payoffs.

    Meanwhile, a blind composer (David Manners) is saved from suicide by one of Sister Fallon's radio broadcasts and becomes devoted to her. The two fall in love, and Florence, who has never been happy being a fraud from the beginning, becomes less and less enchanted with the business she's in.

    The character of Florence Fallon was inspired, as was Sharon Falconer in Elmer Gantry, by the real-life miracle woman, Aimee Semple McPherson, a popular evangelist. She founded the Foursquare Church, still in existence today, and had hundreds and hundreds of healings credited to her. Barbara Stanwyck, about 24 years old here, gives a passionate performance as a conflicted woman, and handsome David Manners does a nice job as her blind beau.

    Very absorbing early Capra, quite different from what he would do in the future. In fact, if you're not a Capra fan, you might like this film of his best of all.
  • 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.
  • A young – and gorgeous – Barbara Stanwyck steals the film as a fire-and-brimstone evangelist whose initial cynicism at the hypocrisy of the churchgoers who discarded her elderly preacher father for a newer model is eroded by the love of a blind man (David Manners). The story is one that couldn't have been told in the manner it is a couple of years later when the code was enforced, which is partly why the film is so fascinating: so few pre-code films are broadcast on TV these days – the vast majority of films shown on TV today are no more than 20 years old – that they are intriguing to watch to discover why the censors got so worked up about them.

    The film is a bit talky in parts, especially in the scenes shared by Manners and Stanwyck, but the subject matter is strong enough to overcome these moments. Capra's work is assured and the script is good. While the film may not appeal to a modern audience, it stands as a fine example of superior studio product from Hollywood's golden age.
  • 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.
  • 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.
  • "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
  • rmax3048231 May 2011
    Warning: Spoilers
    This isn't bad, a kind of re-telling of the story of Amee Semple McPherson and her Four Square Gospel, a popular religious movement during the 20s. She'd be a television celebrity today. McPherson, I think, disappeared mysteriously and some time later showed up without any adequate explanation for her absence. It was widely thought that she'd been shacked up with a married boyfriend someplace, maybe on the Monterey Peninsula. Charges were brought. The scandal that followed was scandalous.

    Barbara Stanwyck plays a similar character in this early 30s production. Her religious beliefs are genuine and intense, and she empties a church while defending her father's integrity, shouting that the congregation is hypocritical. A perfectly pragmatic bad guy, Hardy, latches onto Stanwyck's emotional impact and talks her into organizing a kind of religious traveling circus, complete with shills in the audience and phony faith cures. His argument is simplicity itself, a spun-out version of Kant's hypothetical imperative. Sure, we're all hypocrites. So why not be a hypocrite that makes money out of that hypocrisy? Still bitter, she agrees, and the show is a great success. Enter David Manners, a blind ex aviator from World War I. (Kids: that was 1917-1918.) Distraught and hopeless, he's about to jump out of a window when he hears one of her radio broadcasts and undergoes some kind of Road-to-Damascus number.

    They meet. They fall in love. Everything looks rosy except that Stanwyck is now beginning to feel some guilt over her phoniness. She wants out of it but Hardy has arranged things in such a way that she's trapped in her role as fake preacher. There's humiliation, disgrace. But the director, honing his skills for such later successes as "It's A Wonderful Life" and "Mister Smith Goes to Washington", let's everybody off easy.

    I've never found Barbara Stanwyck as compelling an actress as some others have but she puts a lot into this role. She looks vulnerable. She would hit a neat peak in her career with "Double Indemnity", partly because of that tight sweater, that golden anklet, and that outlandish blond wig. She should have probably retired earlier than she did because the image she left with too many people is that of the hard-faced dominatrix of some revoltingly rich family of ranchers.

    But the script isn't bad. The blind pilot is something of a bore, but Sam Hardy as the corrupt manager has an admirably complex role and does well by it. Too bad the movie has lost so much of its historical resonance. Who remembers Aimee Semple McPherson today? Everyone did in 1931.
  • I can't believe I've never seen this film before. After all does a Christmas pass without "It's a Wonderful Life"? Could anyone over forty possibly not be exposed to Mr Deeds, It Happened One Night. Meet John Doe or Mr Smith Goes to Washington (especially around American elections)? Yet in my 57 years I have never seen this Capra film until TCM aired it today.

    Hallelujah! This is like discovering Beethoven's 10th. I could not take my eyes off this movie for one second. From the very first scene when Stanwyck enters to deliver her father's final sermon and her first, the story grabs you by the throat and won't let go. This movie has all the essential Capra elements: the innocent among the villains and cynics who've lost their innocence; the crowd being swayed by sham theatrics; the hard-boiled woman revealing the heart of gold; and most of all, the sheer unpredictability of his vision and the compelling logic of his moral universe. And how he makes you care for those innocents and even the cynics caught up in riptides of life.

    He had such a great hand in directing his actors too. especially the women. Is it possible that Barbra Stanwyck has looked more beautiful or sexy? It doesn't hurt of course that he had a great actress and a stunning women to work with. Her work is truly fine here.

    Our villain here (Sam Hardy) does a lovely job of making us care about his hapless victims too. His touch is just restrained enough for us to believe one could fall for his temptations and evil enough to be afraid of. And he's balanced by oddly convincing hero, blind composer David Manners who makes a great innocent as well as not a bad ventriloquist.

    This is definitely a must see for any Capra fan!
  • kyle_furr10 April 2004
    Sort of reminds you of Elmer Gantry with Burt Lancaster but not as good. Barbara Stanwyck stars as a precher's daughter who father has just died and she goes out and tells off the members about what they did to her father. A man in attendance hears her and thinks she would make a great phony evangelist. They set up a big tent and promises to heal people but the only people healed are fakes. They are just in it for the money but Stanwyck doesn't like it. When she finds out she stopped a blind man from committing suicide, she wants to quit but her manager won't let her and would send her to jail. It just isn't very interesting and Stanwyck does a good job but It's disappointing.
  • Barbra Stanwyck plays a phony evangelist named Florence 'Faith' Fallon. She's sick of preaching the Gospel and "curing" supposedly ill people (they're workers for her), but her unscrupulous boss (Sam Hardy) convinces her to keep on doing it. Then she meets a kind, blind man (David Manners) and falls in love. He loves her too and wants to be with her. But her manager won't let her go....

    Still strong drama was (surprisingly) a bomb in its day. It's now considered one of the best movies of the 1930s. Stanwyck is just superb--you feel her pain over lying to people for money and her love for Manners. Even Manners (usually pretty bad) is very good. He's tall, very handsome and totally believable. You're really rooting for him and Stanwyck.

    Sadly, this film is still very up to the minute. There are plenty of fake evangelists still at work taking money from good, religious people. It's kind of sad that a movie over 70 years old still mirrors problems that we have today.

    Well worth seeing--maybe Manners best performance.
  • Before Tammy Baker there was Barbara Stanwyck playing a preacher woman for a con man. They hit it big with a money making church but dear old Barbara's character develops a guilty conscious when blind man David Manners steps into her life. Once again we find religion being abused for all the wrong reasons by a bunch of ratbags, (is there a right reason?). Through the rough edges of this modest film, we can see Capra toying with his future craft and the good thing about it is that he does get it right in years to come.
  • This was another example of why the Hays Code was put in as anti-religious movies were on the increase, along with everything else you see and hear in films today. Here we see a minister and followers (both mainstream and charismatic) made to look stupid and corrupt. Over 70 years later, Hollywood still thinks that's the only kind worth showing on screen. (Do you see good ones, like Billy Graham, ever on film?)

    Supposedly, this story was based on a real-life female preacher named Aimee Semple McPherson. In the film, we first see a man who dies while writing his last sermon. He had been booted out of his church because he was too old and they wanted a younger man. The daughter (Semple, played by Barbara Stanwyck) goes up to the pulpit, starts to read the partial sermon, then tells what happened to her father and tells off the congregation, calling them all kinds of names. That part, frankly, was very dramatic and interesting to watch.

    But then the film starts to get carried away with its agenda of a fake evangelist. A huckster, who happened by when Florence "Faith" Falon (Stanwyck), talks the bitter woman into getting back at people by using her biblical knowledge to be an evangelist, earn a lot of money and bilk the public with fake healing and the like. She does just that.

    She gives sermons at her "Faith Temple" that are so New Age and unlike anything you would really hear - whether she was faking it or not - that it's an insult for anyone who knows what sermons sound like. They also make the people in the audience so corny and so unlike anyone that would attend a service that it, too, is ludicrous.

    Only non-church goers would believe the stuff in this movie.

    Note: before the film began, a disclaimer was put on screen with a quote from the book of Matthew warning people to beware of "false prophets." Well, I agree, false prophets have always been with all and always will be, but I also warn people to be aware of false propaganda they see in movies! Like those false teachers, don't believe everything you see on screen.
  • ivan-2223 October 2003
    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.
  • Barbara Stanwyck and Frank Capra did four films together in the early Thirties for Columbia and as this was Capra's early work it's of varying quality. The Miracle Woman has Barbara Stanwyck as an Aimee Semple McPherson type evangelist bilking the public for all it's worth under the tutelage of Sam Hardy.

    Barbara's got good reason to be cynical, her father who was a devout minister died poor and uncared for by his Pharisee like congregation. With Hardy's encouragement she starts to see religion as a way to make some real dough. Doesn't that sound familiar for today.

    She's going along in her cynical way until she meets David Manners, former veteran of the Great War who left his eyesight behind in it. Manners is the main weakness in The Miracle Woman, he's obviously a man of some culture and learning and I could not accept that this would be the kind of woman he would fall for.

    The similarities between The Miracle Woman and Elmer Gantry are too obvious to ignore. Richard Brooks's classic is so much better done covering the same ground.

    As for Stanwyck she gives a great performance in a film that never quite gets its message across.
  • This was indeed a strange curio from the early 1930s. This film was inspired by Aimee Semple McPherson's traveling evangelistic crusades of the 1920s. At first, Aimee (just like Barbara in the film) seemed sincere and over time, the attraction of fame and riches turned this "crusade" into a sleazy business. While not as cynical and amazing to watch as the later and very similar movie, ELMER GANTRY, this film is very daring to take on the topic of fraudulent faith healers. Given that this is one of Barbara Stanwyck's earliest films, she does an amazing job. The script is engaging as well and Frank Capra shows us that he's an excellent director with great things ahead in his career.

    Fascinating throughout and well worth watching.
  • Warning: Spoilers
    Watched specifically for Barbara Stanwyck and she doesn't disappoint in her role, equally compelling and beautiful on screen. On the other hand, the story itself isn't as overwhelmingly good, following the theme of the much seen before "con", this time in the form of American consumer evangelism. Sam Hardy plays quite a good sleaze-bag manager but there isn't much else to the story besides a romance with David Manner's character John and Florence. I don't fall into the people who see everything wrong with modern day cinema and champion everything before the 1960, I actually enjoy both and this was just a decent viewing.

    Note: A common place racist image is present in this film when John introduces his "two friends: Pagliacci the clown and Sambo the hoofer" This scene adds nothing to the plot and you wonder why it was even added but that these things were quite common and just thought of as funny in this period.
  • Warning: Spoilers
    Thank goodness for Turner Classic Movies! I see the best movies on this channel. The Miracle Woman was amazing, and far better than 99% of our modern movies!

    Stanwyck is awesome as a disillusioned preacher's daughter who falls prey to a con-man who sets up a phony church with "Sister Fallon" (Stanwyck) as the main preacher. At first Stanwyck is OK with this set-up, as she's bitter towards the hypocritical church-goers at her father's church where he died. But, her conscious eventually gets to her and she wants to get out of the racket. Her boss, a bad guy well-played by Sam Hardy, threatens her with jail if she tries to leave -- you see, he's managed to put everything in her name, so at the very least she could go to jail for fraud and perhaps even murder (the boss murdered the accountant but has "evidence" that links Stanwyck to it).

    Along the way, Stanwyck has fallen in love with David Manners, who plays a blind ex-aviator. Her love for him was quite touching and believable, however I found Manners's character rather one-dimensional and not very compelling. Nonetheless, that did not detract from the story and I was rooting for Stanwyck and Manners to end up together (such was the power of Stanwyck's performance).

    One final note, not really a spoiler but more of an interesting trivia point: In one scene, the boss issued a thinly veiled threat to Stanwyck's chauffeur and asked the chauffeur if he got his drift. The chauffeur said yes, then walked out of the office and closed the door. Then, from behind the closed door, we see what the chauffeur really thinks of the boss: the chauffeur FLIPPED OFF the boss and said "and your black derby too" (the boss was wearing a black derby). I nearly fell out of my chair and had to rewind the Tivo a few times to make sure my eyes were not deceiving me. I don't think I've ever seen someone flip someone off (this was a full-on middle finger flip-off) in a movie prior to say the 1970s or maybe even the 1980s. Then I remembered this was a 1931 movie -- 3 years before the Production Code went into full-force effect. It was just a tiny moment in this fantastic movie, but I loved the heck out of it!

    By the way, I'm normally not a Frank Capra fan, but I found this to be a very good movie of his. Towards the end of the movie it appears that it will end quite tragically, and being that this was 1931 I was afraid it might. (Happy endings are a trademark of the post-Code days, not the pre-Code days.) A tiny part of me was rooting for Frank Capra to pull off one of his usual post-Code feel-good endings ... you'll have to watch the movie to see how it ended.

    I easily give this a 9/10!
  • The Miracle Woman (1931) : Brief Review -

    The early Barbara Stanwyck you'd like to remember. No miracle, but a fine attempt at religious circus and human conscience. Many would recognise Barbara for Stella Dallas (1937), Ball Of Fire (1941), The Lady Eve (1941), Meet John Doe (1941), Double Indemnity (1944), Christmas In Connecticut (1945), Sorry, Wrong Number (1948), No Man Of Her Own (1950), and other films that she did after The Bitter Tea of General Yen (1933). But here's one more film you should look at to see her early days. Not because she looks extra gorgeous, but because she has performed much better than one would have expected. The film could have been much better, though, since it attempted a challenging subject like a religious circus with an overdose of a simple love story. Richard Brooks did the same after almost 3 decades with Elmer Gantry (1960), but again with the same love story issue. I somehow saw the Bollywood classic "Teesri Kasam" (1966) here in The Miracle Woman. A bad woman falls in love with a naive man, and then she has to quit him to keep her fake image intact. Here, the man tries to quit things, and then the woman does the same. Somehow, that's overdoing it. You could have simply ended things with one powerful conflict on religious faith that would relate to human conscience more than the miracle, and I guess Capra would have cracked a film of a lifetime. Stanwyck's stunning looks and amazing performance made me forgive a few things, and how calm and composed was David Manners here? Frank Capra's early days were experimental, but I always looked at him as the best man to tell rom-coms rather than serious films. He did some really good serious films later, but the early 30s weren't enough. With a better and more intelligent second half, The Miracle Woman would have been a great film. Nevertheless, a fine attempt in the early talkies era.

    RATING - 6/10*

    By - #samthebestest.
  • Warning: Spoilers
    Minister's daughter Barbara Stanwyck has had enough of the hypocrites of her father's congregation as she takes the pulpit to tell them off in one of the great cinematic splendors of its day. This is Barbara Stanwyck's second of five Frank Capra films, and she is absolutely superb in it. From that exposition of her father's clergy's immorality to her own by becoming a famous evangelist who is out for what she can take, it is very apparent that this is Capra's call for exposing the hypocrisy he believed the very real Aimee Semple McPherson was doing with her showy displays of religious dramatics and so-called paranormal cures. Stanwyck gets to rise up to call the Lord in, splendidly set on some very art-decco church platforms, filled with wild animals in cages and every lavishness she could think of to manipulate her congregation into giving so she could provide them more of a show.

    Things begin to change for her when a handsome blind man (David Manners) comes to her for a cure, and she falls head over heels in love with him. This puts a damper on her partner's (Sam Hardy) schemes, and ultimately leads to tragic events that could cost many people their lives. Capra had risen from assistant film maker during the silent era to Columbia's biggest director, and this is his first true classic. Everything about it screams "spectacle", much like Joseph Von Sternberg's films did for Dietrich over at Paramount. Columbia got to "rise up" out of the list of poverty row studios, and with this film, Stanwyck quickly became one of Hollywood's "A" list stars.

    There's comedy thrown in with the apply named "Gussie" (Thelma Hill), a chatty sort of "Cathy", Manners' Charlie McCarthy like dummy who is his constant companion (and possibly jealous of Stanwyck) and the warm hearted Beryl Mercer. But it's Stanwyck who comes off the winner here, aided from an iffy start in films by Capra's guidance, and assisted here with a brilliant script and some really stunning photography. It is obvious that this is one of the first films to show how far technology had come in the movies since the change of the decade, and even today, it reveals a lot about the human soul through its deep look into what makes Stanwyck's foolish character change and literally come back to life just as she had brought life back to the lonely Manners.
  • Florence Fallon (Barbara Stanwyck) loses her preacher father and takes to the pulpit to denounce his uncaring flock for not appreciating his goodness. She takes her bitter rants to the radio and becomes a highly successful evangelist with greedy promoter Bob Hornsby. John Carson is a blind struggling songwriter taken with Florence's sermons. His faith in her restores her faith in humanity.

    Frank Capra and Stanwyck bring a nice tale of redemption and salvation. This is Capra a little bit before his biggest hits. It certainly has his movie belief in humanity and goodness. Stanwyck has her usual acting power. John Carson should be less well off and leave that dummy out of this please. He needs to work with orphans or heal the sick which could inspire her. Stanwyck and the Capraism mostly work which is very good. This is like an early flawed prototype for Capra's later icons.
  • A blind man hopes, in all humility, to serve a famous female evangelist in her ministry, but soon he finds himself falling in love with THE MIRACLE WOMAN.

    Columbia Pictures, and young director Frank Capra, had to walk a fine line between the sacred and the profane in this topical feature, and ended up with a solid piece of entertainment. Good production values only serve to underscore the excellent acting in the two leading roles. A balance is maintained between sanctity, sanctimoniousness & sentiment. Contemporary viewers, whether churched or not, should find material here to interest them. It is a shame this fine film has become so obscure.

    Barbara Stanwyck dominates & fascinates in the title role, never slipping into caricature or allowing her character to become cardboard. She presents a well rounded portrait of a complicated, lonely female who experiences the pangs & joys of unexpected love. She is careful, though, to keep her portrayal sympathetic - realizing that her character was not entirely fictional - but she is never dull. In fact, watching Stanwyck give an impassioned exhortation from inside a lions' cage has got to be one of the more unique scenes from any film of the 1930's.

    As the blind former aviator, David Manners gives one of the finest performances of his career, deftly underplaying his role, while letting just enough of the character's angst show through. He gives us the portrait of a man who doesn't need his eyesight to be a moral hero.

    Plump little Beryl Mercer scores as Manners' cheery landlady. Sam Hardy is most convincing as Stanwyck's crooked manager. Charles Middleton portrays a hardhearted Deacon early in the film.

    ******************************

    Stanwyck's character in THE MIRACLE WOMAN is heavily based on the most famous & beloved female evangelist of all time, Aimee Semple McPherson. At the height of her popularity, there was not a movie star in Hollywood who could rival her celebrity.

    Born Aimee Elizabeth Kennedy on October 9, 1890 in Ontario, Canada, Sister Aimee was the daughter of a Methodist farmer & a Salvation Army worker mother. Completely uninterested in spiritual things as a girl, this changed when she met & romanced dynamic young Pentecostal missionary Robert Semple. In 1908 she gave her life to both God & Robert and married and moved with him to the British Crown Colony of Hong Kong. They both became very ill in China and upon his death from malaria in 1910, his widow relocated to New York City with their infant daughter, Roberta.

    In 1912 Sister Aimee married Rhode Island grocery salesman Harold McPherson, but she warned him that the call of God was on her life and if she felt the need to preach, she would have to leave him. Harold agreed, but the marriage didn't last her entry into the revival circuit (a future third marriage also ended in divorce). News of her preaching spread from town to town, and soon Sister Aimee was in demand as an evangelistic speaker. With Roberta & baby son Rolf, she toured in her Gospel Car and became perhaps the first woman to solo drive from coast to coast.

    In 1918 Sister Aimee settled in Los Angeles, California, and it remained her headquarters city for the rest of her life. Physically striking as well as intelligent, Sister Aimee was a forceful, charismatic speaker and it did not take her long to gather a large & loyal body of adherents. She built the magnificent Angelus Temple in 1923, and there in its 5,300 seat auditorium she would present her lavish illustrated sermons before the spellbound eyes of her congregation. In 1924 Sister Aimee became the first female to operate her own radio station, which she bought for $25,000. Speaking or broadcasting 22 times a week, and never charging admission, Sister Aimee beat the movies at their own game with her highly entertaining & theatrical services. Stars such as Douglas Fairbanks & Charlie Chaplin regularly attended to marvel at her stage presence.

    It is hardly surprising that controversy and even scandal followed such a notable individual. Indeed, at one time she was the subject of 45 separate legal suits. But it is the mystery surrounding her disappearance in 1926 that continues to encourage speculation: while swimming in the Pacific Ocean on May 18, Sister Aimee vanished. The nation mourned her apparent drowning. Thousands converged on the beach at Santa Monica; one diver died & a female follower committed suicide, claiming she wanted to accompany Sister Aimee to Heaven.

    But then mysterious ransom notes began appearing at Angelus Temple and the complexion of the story began to change. Finally, on June 23, Sister Aimee suddenly reappeared in Douglas, Arizona, telling a tale of kidnapping & miraculous escape. She said she had been approached on the beach by a distraught couple, desperately wanting her to come pray for their dying child. She was whisked away in a waiting car, but ended up across the border in Mexico, where she was kept tied in a shack and tortured with burning cigarettes. Biding her time, she waited until she was alone, rolled off her cot and cut her bonds on the edge of a metal can lid. Then she stumbled into the Mexican village of Agua Prieta, where she was able to get a taxi to Douglas. This was her story. 50,000 people met her train when it arrived from Arizona.

    The faithful adored her all the more, but her enemies whispered about a possible love tryst. The Los Angeles District Attorney charged her before the Grand Jury for corruption of morals by staging a hoax. However, her story could never be proven or disproved, and the perjury case was dismissed for lack of evidence. But who would want her kidnapped? A possible solution is this: Born again bootleggers would broadcast their testimonies at Sister Aimee's radio station, naming the corrupt officials who helped them. This could prove disastrous to any number of men in high positions of authority, and giving Sister Aimee a solid scare might remedy their problem. What is known for sure is that the District Attorney who persecuted her was later imprisoned himself at San Quentin for bribery. Sister Aimee came and prayed for him.

    Rebounding stronger than ever, Sister Aimee incorporated the International Church of the Foursquare Gospel in 1927, based on the tenets of belief of Jesus Christ as Savior, Baptizer, Healer, and Soon-Coming King. During the 1930's, Sister Aimee was at the height of her influence and fame. In addition to her church services, touring revival crusades and radio station, she operated a Bible school, edited a magazine, wrote books, composed stirring songs and oversaw her denomination of 200 churches.

    Her healing ministry came in for much scrutiny, but no one has ever proven that it was faked or phony. Sister Aimee, who spent as long as eight hours after services praying for the sick, was quick to give all the glory to God. And there were undeniable positive results: folks who arrived in ambulances returned home on streetcars.

    Sister Aimee's death in Oakland, California, on September 27, 1944, was the tragic result of an accidental overdose of sleeping pills. After the funeral in the Angelus Temple, 35,000 mourners passed by her grave in Forest Lawn Cemetery. Her son, Rolf McPherson, assumed leadership of The Foursquare Denomination, which is still strong & vibrant today.

    While her lavish lifestyle and oversized personality made Sister Aimee an easy mark for ridicule and even spoofery, it should not be forgotten that she provided hope & comfort to millions of desperate Americans during the darkest days of the Great Depression. That's not a bad legacy.
  • Warning: Spoilers
    "The Miracle Woman" is nothing but proof that evangelists have been scheming worshippers for decades, if not centuries. The last movie I saw of a similar theme was "Leap of Faith" with Steve Martin. The evangelist in "The Miracle Woman" was Florence 'Faith' Fallon (Barbara Stanwyck). The movie began with her reading the riot act to her father's congregation for their hypocrisy. Her father died penniless while his congregation lived well.

    After her father died she was without money and without hope until a fellow named Hornsby (Sam Hardy) spoke to her. He was dazzled by her quotation of the Bible and her passion when telling off the congregation. He could solve her problems if she'd only partner up with him. "Religion is like everything else, it's great if you can sell it, no good if you give it away," is what he told her and with that they were a team.

    The next time we heard Florence's voice she was on the radio preaching. The next time we saw her she was in front of a packed tent preaching from within a lion's cage. She was bewitching the masses and pulling money from their pockets with the help of Hornsby's shills he was paying to make her act look authentic.

    Florence was having reservations about the plants being used to fool the people. She believed that the truth was good enough to rely upon regardless of whether people freely gave to her tabernacle or not.

    Then she met John Carson (David Manners), a blind military vet. He was going to jump to his death until he heard her on the radio. He was a real life that Florence saved, but she was too deeply embedded with Hornsby to get off the ride now.

    "The Miracle Woman" is good if for any reason it's different. It's not a high society movie or relationship drama and it exposes some of the religious grifters we have. Of course, Hollywood couldn't totally dump on religion. Florence found her faith and gave up all of her wealth to be truly dutiful to God.

    Hey, it happens.

    Free on Odnoklassniki.
  • In Hollywood's classic age Columbia Studios was infamously dubbed "poverty row", because of its low budget prodcutions and lack of star power. However it did prove itself a fertile ground for talent and a lot of up-and-comers who would later be big names got their first break there. Such a one was Barbara Stanwyck, here on the ascendant as The Miracle Woman.

    Unlike most of the bigger studios, Columbia's biggest asset during the 1930s was not a star but a director. Just like Stanwyck, Frank Capra was just starting to make a name for himself. For The Miracle Woman Capra demonstrates his increasingly passive camera positioning, often putting us audience members in the place of observer amid the crowd, which is rather appropriate for this picture all about display and performance. Capra still has something of the naïve show-off about him however, and there are quite a few attention-grabbing whip-pans and "impossible" shots like the one staring up through the fireplace, which don't really add a lot. And Capra's camera perhaps hangs back a bit too much, making the romantic scenes a little cold. Perhaps this picture of one-on-one relationships is not really suited to him. Capra really came into his own when dealing with groups, families and communities.

    Ms Stanwyck however barely has any need of a decent director, being absolutely able to command our attention when she is on the screen. Her standout scene is actually her first, when she vehemently addresses a congregation after the death of her father. She manages the difficult task of being passionately enraged, for a good few minutes, without becoming hysterical, a particular rarity in this age of hammier acting. And throughout the picture she proves herself to be deep and subtle with her emotion, with a performance that is convincing and totally absorbing. Unfortunately the same cannot quite be said of her co-stars. David Manners was fairly popular at the time, and he was pretty good in the somewhat phoney world of Dracula (1931), but here he is rather wooden. He's certainly a good ventriloquist, but his ventriloquism act seems to have been shoehorned into the plot simply because it was something he could do. He doesn't really convince as a blind man either, more than once making eye contact with Stanwyck or obviously seeing his way around the set.

    And apart from Stanwyck's performance there is very little to recommend about The Miracle Woman. The plot is a second-rate rip-off of Sinclair Lewis's novel Elmer Gantry (which, incidentally, was so controversial it was not filmed until 1960) and while the very competent Jo Swerling has adapted the John Meehan/Robert Riskin* play lucidly for the screen, it remains a rather lacklustre affair. There is some potential for pathos, but sadly the script is not lively enough to bring it out. Yet amid it Stanwyck stands out like a fiery beacon, and the picture is just about worth seeing for her alone. Hollywood honchos would be taking note as well, and the young actress would soon be bound for big roles at the major studios.

    *Later a crucial yet unsung Capra collaborator, Riskin would write some of the finest screenplays of the 1930s. We can only assume that his ability was not fully fledged at the time he was writing The Miracle Woman, which is supported by the fact that he and Meehan chose to steal most of their plot from a popular novel of the day rather than coming up with something original. Nevertheless Riskin would soon go on to great things, and he deserves this footnote by way of a disclaimer. Oh, and John Meehan later did some pretty good screenplays too.
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