Salvation lies in a good movie (or a good book)
Mood: currently obsessed with vintage movies, it seems (see also previous post)
One of the reasons why some of us cling to a classic like Jane Eyre is the book's skillful treatment of one of the ultimate romantic fantasies: the notion of mending a broken hero while at the same time achieving a union of equals. The storytelling superpowers of Charlotte Brontë can ably handle this paradox without resorting to excessive melodrama and sentimentalism. I thought Frank Capra managed to strike the same balance in “The Miracle Woman”. I hope anyone reading this will forgive this - frankly - self-indulgent analogy but I believe I have a good case:
In this early Capra treasure, which I was lucky enough to catch on Film 4 this afternoon, saviour and saved keep switching roles until they can lead one another through personal issues into a marriage of equals (not too dissimilar to Jane and Rochester’s own experiences - more on this topic here). To suicidal blind ex-pilot John Carson (David Manners) salvation comes in the form of Florence Fallon (Barbara Stanwyck, outstanding), a faith healer whose motivational preaching John happens to overhear on a radio. Little does he know that she is in fact a charlatan and desperate for something to believe in. Ultimately their paths will cross and they will take turns playing saviour and saved.
Despite dating back to 1931, Capra’s movie still seems topical - as the fast pace of our modern lives and jobs often lead us to question our beliefs, values and credibility. In the beginning of the movie a bitter Florence, after being snubbed by her congregation, is told by cynical con artist Bob Hornsby:
The movie goes beyond the issues of religious charlatanism and lack of faith to remind us that we are all imperfect and that small miracles are the ones to aim for (topics Capra would later reprise in classics such as “Meet John Doe” and “It’s a Wondeful Life”). Admittedly, "The Miracle Woman" could have done without some of Capra's whimsical touches (lose the marionette dolls!) and with a little more plot development. However, he more than compensates for the childish props by giving us delicious metaphors. At one point John, having forgotten to turn on the lights, apologetically says to Florence: "Excuse me, I might give you a little light". And so he does, literally and figuratively.
Capra also gives us a satisfying yet grown-up ending. The “temple going up in flames” climax could have concluded in a soppy, saccharine "kiss out" between hero and heroine, but Capra gives us instead a charming, funny, non moralistic wrap, one that befits real life but maintains just the right amount of fantasy. After all, Frank Capra - like Charlotte Brontë - had the gift of telling us ordinary stories in an extraordinary manner.
One of the reasons why some of us cling to a classic like Jane Eyre is the book's skillful treatment of one of the ultimate romantic fantasies: the notion of mending a broken hero while at the same time achieving a union of equals. The storytelling superpowers of Charlotte Brontë can ably handle this paradox without resorting to excessive melodrama and sentimentalism. I thought Frank Capra managed to strike the same balance in “The Miracle Woman”. I hope anyone reading this will forgive this - frankly - self-indulgent analogy but I believe I have a good case:
In this early Capra treasure, which I was lucky enough to catch on Film 4 this afternoon, saviour and saved keep switching roles until they can lead one another through personal issues into a marriage of equals (not too dissimilar to Jane and Rochester’s own experiences - more on this topic here). To suicidal blind ex-pilot John Carson (David Manners) salvation comes in the form of Florence Fallon (Barbara Stanwyck, outstanding), a faith healer whose motivational preaching John happens to overhear on a radio. Little does he know that she is in fact a charlatan and desperate for something to believe in. Ultimately their paths will cross and they will take turns playing saviour and saved.
Despite dating back to 1931, Capra’s movie still seems topical - as the fast pace of our modern lives and jobs often lead us to question our beliefs, values and credibility. In the beginning of the movie a bitter Florence, after being snubbed by her congregation, is told by cynical con artist Bob Hornsby:
“Most of the trouble in this world comes from people who have beliefs. The answer is: don’t have any. If you have none, you can assume the ones that happen to pay.”
Aided (and exploited) by Hornsby, Florence then embarks on a successful career as a fake "faith healer", although her conscience plagues her. At this point I could really relate to Florence as sometimes (most of the times in fact) I feel just as charlatanic doing my day job.
The movie goes beyond the issues of religious charlatanism and lack of faith to remind us that we are all imperfect and that small miracles are the ones to aim for (topics Capra would later reprise in classics such as “Meet John Doe” and “It’s a Wondeful Life”). Admittedly, "The Miracle Woman" could have done without some of Capra's whimsical touches (lose the marionette dolls!) and with a little more plot development. However, he more than compensates for the childish props by giving us delicious metaphors. At one point John, having forgotten to turn on the lights, apologetically says to Florence: "Excuse me, I might give you a little light". And so he does, literally and figuratively.
Capra also gives us a satisfying yet grown-up ending. The “temple going up in flames” climax could have concluded in a soppy, saccharine "kiss out" between hero and heroine, but Capra gives us instead a charming, funny, non moralistic wrap, one that befits real life but maintains just the right amount of fantasy. After all, Frank Capra - like Charlotte Brontë - had the gift of telling us ordinary stories in an extraordinary manner.
Posts
No comments:
Post a Comment