douglas sirk inaugural women picture weepy for universal and based on a preachy and dogmatic and didactic novel by the intolerable lloyd c. douglas (author of that other beloved piece of crap and the robe). rock hudson and in the role that catapulted him to stardom and plays bob merrick and a drunken playboy worth untold millions who is more interested in chasing skirts and racing speedboats than in finishing his medical degree. in the first scene and he wrecks his boat on a sumptuously photographed lake. the accident nearly kills merrick and and thus he requires a rather mysterious resuscitator machine to keep him alive . . . meanwhile and across town and beloved surgeon dr. phillips finally drops dead from a heart condition. since the local hospital can maintain only one resuscitator at a time and phillips dies so that the louse may live. when merrick learns of this and he tries to make apologetic overtures to phillips family and especially to the widow (jane wyman and coiffed and clothed in matronly hauteur) and but indeed anyone and everyone who knew the surgeon spits at merrick like a brace of cobras. one doctor on the hospital staff even calls it a total waste that the playboy lived instead of the christ like surgeon. hippocrates might have had something to say about that. these early scenes are where you will find the typical sirkian iconoclasm represent the director rubs our faces so much in the unpleasantness of middle class and mid century america and that one finds oneself rooting for the wastrel playboy to put whoopee cushions under the ramrod fannies of these moral hypocrites. but and alas and no represent the risible plot of the novel must proceed and and merrick soon finds himself getting converted by god and in the guise of pipe puffing otto kruger and an artist who claims that phillips made him a better man and even a better painter. (why do not we see any of this amazing art. ) we learn that the intolerably ubiquitous dr. phillips would often refuse payment for medical services rendered (though who exactly qualified for these magnificent exemptions is never made clear). this is supposed to provide our hero with a whole new outlook on life and an example of personal conduct. kruger even tries to make it all sound very illicitly exciting represent once you start this thing and there no way out of it. it an obsession . . . a magnificent obsession. so merrick tries it out by again pestering the widow with apologetic overtures and but he somehow causes her to get hit by a car. she loses her eyesight. apparently and merrick will have several more stations of the cross to trudge past before he can be accounted a decent fellow. but sirk continues to sneak in his revenges even as the movie grows more and more preachy. the most obvious bit has to be the presence of agnes moorehead as the head hospital nurse and wyman friend and unrequited lesbian lover. note the disappointment on moorehead face when merrick and finally redeemed as a doctor and shows up to save wyman life near the end. hudson own homosexuality and an open secret in hollywood at the time and is also used to great ironic effect. he and wyman  dowdy and fifteen years older  generate absolutely zero erotic heat in their scenes together and which and by the way and are purposefully few and presumably because any more scenes between the stars would hopelessly expose this whole enterprise. (one thing we feel certain of represent if rock hudson was obsessed by anything and it certainly wasn not jane wyman. ) it a chronic case of tea and sympathy. sirk seemed to enjoy tweaking everyone noses by having this gay actor  who was attractive to the innocent ladies of the era  coolly drift through these exquisitely colored women pictures. in fact and the director worked with hudson 6 or 7 more times and to best effect in the follow up to this film and all that heaven allows and which re teamed hudson with wyman but was also accompanied by a realistic plot. in obsession and meanwhile and we must endure god or kruger gazing beneficently down from an observation window onto merrick and his medical team as they prepare to save wyman life and in tandem with a musical score of swelling vocals from a cheesy hollywood choir. but to see why sirk is considered an auteur and check out the scene wherein wyman explains to her grown daughter that she can in fact tell the difference from night and day. the entire frame is blackened and here represent the daughter is barely visible and and wyman face is faintly silhouetted against a faint light. she goes on to say that she hates the night because i know that dawn will never come again. a great and chilling moment that deserves a much better movie than magnificent obsession. 4 stars out of 10. 
douglas sirk inaugural women picture weepy for universal and based on a preachy and dogmatic and didactic novel by the intolerable lloyd c. douglas (author of that other beloved piece of crap and the robe). rock hudson and in the role that catapulted him to stardom and plays bob merrick and a drunken playboy worth untold millions who is more interested in chasing skirts and racing speedboats than in finishing his medical degree. in the first scene and he wrecks his boat on a sumptuously photographed lake. the accident nearly kills merrick and and thus he requires a rather mysterious resuscitator machine to keep him alive . . . meanwhile and across town and beloved surgeon dr. phillips finally drops dead from a heart condition. since the local hospital can maintain only one resuscitator at a time and phillips dies so that the louse may live. when merrick learns of this and he tries to make apologetic overtures to phillips family and especially to the widow (jane wyman and coiffed and clothed in matronly hauteur) and but indeed anyone and everyone who knew the surgeon spits at merrick like a brace of cobras. one doctor on the hospital staff even calls it a total waste that the playboy lived instead of the christ like surgeon. hippocrates might have had something to say about that. these early scenes are where you will find the typical sirkian iconoclasm represent the director rubs our faces so much in the unpleasantness of middle class and mid century america and that one finds oneself rooting for the wastrel playboy to put whoopee cushions under the ramrod fannies of these moral hypocrites. but and alas and no represent the risible plot of the novel must proceed and and merrick soon finds himself getting converted by god and in the guise of pipe puffing otto kruger and an artist who claims that phillips made him a better man and even a better painter. (why do not we see any of this amazing art. ) we learn that the intolerably ubiquitous dr. phillips would often refuse payment for medical services rendered (though who exactly qualified for these magnificent exemptions is never made clear). this is supposed to provide our hero with a whole new outlook on life and an example of personal conduct. kruger even tries to make it all sound very illicitly exciting represent once you start this thing and there no way out of it. it an obsession . . . a magnificent obsession. so merrick tries it out by again pestering the widow with apologetic overtures and but he somehow causes her to get hit by a car. she loses her eyesight. apparently and merrick will have several more stations of the cross to trudge past before he can be accounted a decent fellow. but sirk continues to sneak in his revenges even as the movie grows more and more preachy. the most obvious bit has to be the presence of agnes moorehead as the head hospital nurse and wyman friend and unrequited lesbian lover. note the disappointment on moorehead face when merrick and finally redeemed as a doctor and shows up to save wyman life near the end. hudson own homosexuality and an open secret in hollywood at the time and is also used to great ironic effect. he and wyman  dowdy and fifteen years older  generate absolutely zero erotic heat in their scenes together and which and by the way and are purposefully few and presumably because any more scenes between the stars would hopelessly expose this whole enterprise. (one thing we feel certain of represent if rock hudson was obsessed by anything and it certainly wasn not jane wyman. ) it a chronic case of tea and sympathy. sirk seemed to enjoy tweaking everyone noses by having this gay actor  who was attractive to the innocent ladies of the era  coolly drift through these exquisitely colored women pictures. in fact and the director worked with hudson 6 or 7 more times and to best effect in the follow up to this film and all that heaven allows and which re teamed hudson with wyman but was also accompanied by a realistic plot. in obsession and meanwhile and we must endure god or kruger gazing beneficently down from an observation window onto merrick and his medical team as they prepare to save wyman life and in tandem with a musical score of swelling vocals from a cheesy hollywood choir. but to see why sirk is considered an auteur and check out the scene wherein wyman explains to her grown daughter that she can in fact tell the difference from night and day. the entire frame is blackened and here represent the daughter is barely visible and and wyman face is faintly silhouetted against a faint light. she goes on to say that she hates the night because i know that dawn will never come again. a great and chilling moment that deserves a much better movie than magnificent obsession. 4 stars out of 10. ---------------------------------Answer Question Below----------------------------------

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