Milagro de amor

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.

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.

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.

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.

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.