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.
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.