The Shining Hour - Warner Archive Collection

Joan Crawford was famously labeled "Box Office Poison" in 1938 and one of the movies she made that year that earned her that dubious distinction was The Shining Hour. A glossy romantic drama directed by two-time Oscar-winner Frank Borzage and based on a mildly successful stage play, the film epitomizes the ultra-sophisticated, glamorous style that defined MGM in the 1930s. Its considerable beauty, though, is mostly skin deep, with only glimmers of the substance that must have fueled the play punctuating the brief and brisk 76-minute movie.

Like many Metro pictures of the period, The Shining Hour is fueled by the wattage of its high-powered stars who command attention even in flimsy vehicles. In addition to Crawford, there's the luminous Margaret Sullavan, debonair Melvyn Douglas, reliable Robert Young, and always stellar Fay Bainter. Hattie McDaniel, a year before her Oscar-winning turn as Mammy in Gone with the Wind, delivers her usual brand of sassy humor laced with warmth as Crawford's devoted maid.

The predictable story chronicles the marriage of rural Wisconsin society scion Henry Linden (Douglas) to ravishing wrong-side-of-the-tracks New York nightclub dancer Olivia (a.k.a. Maggie) Riley (Crawford). Olivia has worked hard to shed her lower-class roots and gain a measure of respectability, but Henry's judgmental younger brother David (Young) and creepily possessive older sister Hannah (Bainter) vehemently disapprove of the union.

When the newlyweds arrive at the sprawling family home deep in America's heartland, Olivia gets a frosty reception from everyone except David's sensitive and selfless wife Judy (Sullavan), who instantly accepts her and forges an abiding friendship. David soon lets his defenses down, too, and becomes enamored of his glamorous, free-spirited sister-in-law. Olivia, who married the brusque Henry more for security than love, grows closer to the more attentive David over time, all while the suspicious and vindictive Hannah flings barbs, stirs up trouble, and makes everyone's lives miserable.

The literate script by Jane Murfin and Ogden Nash is littered with a slew of clever quips and urbane one-liners, most of them probably supplied by producer Joseph L. Mankiewicz (All About Eve), who punched up the screenplay but did not receive any credit. Though the plot goes off the rails during the last 15 minutes and comes to a swift, head-scratching resolution moments later, the film features an impressive, fiery climax (I mean that literally) that provides dramatic fodder for Crawford, Sullavan, and especially Bainter. Add the contributions of cinematographer George Folsey, composer Franz Waxman, art director Cedric Gibbons, and costume designer Adrian, who drapes Crawford in gowns equipped with her trademark shoulder pads, and you've got a sumptuous production. It's just too bad The Shining Hour so rarely hits any resonating emotional notes.

Credit Sullavan with delivering what little lyricism the film achieves. Her character often mirrors Melanie Wilkes, who sees good in everyone and quietly accepts her husband's fascination with another woman, and like Olivia de Havilland would do a year later in Gone with the Wind, Sullavan projects a heartbreaking tenderness that's enhanced by her unspoiled beauty. Though the temperamental Sullavan didn't make many movies during her far-too-brief Hollywood career, almost all of them stand the test of time thanks to her finely etched, always authentic work. The Shining Hour isn't a tough picture to steal, but she does so without even trying.

Crawford lobbied for Sullavan to be cast in the movie over the objection of studio chief Louis B. Mayer, who told his star the stage-trained, magnetic Sullavan would overshadow her. Desperate for a good picture, Crawford didn't care and championed Sullavan throughout shooting. Though Crawford often holds her own, she can't quite compete, despite her best efforts. In her down-to-earth moments she shines, but too much of the time a hoity-toity affectation laces her line readings, reminding us just how silly the whole enterprise is.

Douglas is given little to do, but Young impresses as the surly, tortured David and Bainter, who would win a well deserved Best Supporting Actress Oscar the same year for Jezebel, contributes a deliciously bitchy portrayal until she succumbs to a fleeting case of wild-eyed madness that wreaks havoc on all involved, then disappears hours later. Go figure.

Despite its desire to be taken seriously, The Shining Hour isn't the type of film that demands or benefits from introspection and dissection. It's a breezy bit of romantic nonsense designed to showcase its stars and provide some mindless escape for its audience, and on those counts it succeeds brilliantly. So let's leave it at that.

Vital Disc Stats: The Blu-ray
The Shining Hour arrives on Blu-ray packaged in a standard case. Video codec is 1080p/AVC MPEG-4 and audio is DTS-HD Master Audio 2.0 mono. Once the disc is inserted into the player, the static menu without music immediately pops up; no previews or promos precede it.

A brand new HD master struck from a 4K scan of the best preservation elements yields a lovely 1080p/AVC MPEG-4 transfer that faithfully honors the cinematography of 13-time Oscar nominee George Folsey. The transfer errs a bit on the bright side, but still features deep blacks, solid shadow delineation, and excellent contrast. Grain is evident, so the feel of celluloid remains intact, but it never detracts from the viewing experience. Varied grays bring out fine details in the elegant costumes and beautifully appointed sets, while sharp close-ups showcase Crawford's glamor, Sullavan's often liquid eyes, and Douglas' pencil-thin mustache. No nicks, dirt, or scratches mar the pristine print and the overall presentation remains consistent with the high standards Warner Archive has achieved over the years.

The DTS-HD Master Audio 2.0 mono track provides clear, well-modulated sound. The Shining Hour is a dialogue-driven film and all the banter and impassioned speeches are well prioritized and easy to comprehend. A wide dynamic scale embraces all the highs and lows of Franz Waxman's ultra-romantic score, sonic accents like galloping horse hooves and crackling flames are crisp, and no distortion or age-related surface noise creep into the mix.

A few vintage extras round out the disc.

• Vintage Radio Broadcast: Good News of 1939 (23 minutes) - This episode of the promotional MGM radio series features audio clips from The Shining Hour as well as a raucous comedy sketch with Frank Morgan and Tony Martin that's written by Broadway playwright George S. Kaufman.
• Vintage Cartoon: Love and Curses (HD, 8 minutes) - This 1938 Technicolor Merrie Melodies cartoon salutes the dastardly villains of 1890s melodramas.
• Vintage Cartoon: Porky's Five and Ten (HD, 7 minutes) - Another animated short from 1938, this black-and-white Looney Tunes installment chronicles Porky's nautical journey to a tropical isle to open a notions store and the mischievous undersea creatures he meets along the way. Parodies of Greta Garbo and Mae West enliven this charming cartoon.
• Vintage Cartoon: The Sneezing Weasel (HD, 7 minutes) - A baby chick's encounter with a weasel leads to mayhem in this lively 1938 Technicolor cartoon.
• Theatrical Trailer (SD, 3 minutes) - The film's original preview highlights the glittering cast and the story's fiery dramatics.

The Shining Hour rarely rises above its sudsy plot, but its glittering cast delivers earnest performances that make this triangle drama an entertaining diversion. A healthy slathering of MGM gloss adds to the allure, as does Warner Archive's excellent transfer that's struck from a 4K scan of the best preservation elements. Solid audio and some vintage supplements also enhance the top-notch presentation. Recommended.