| Jane Wyman | ... | Helen Phillips | |
| Rock Hudson | ... | Bob Merrick | |
| Agnes Moorehead | ... | Nancy Ashford | |
| Otto Kruger | ... | Edward Randolph | |
| Barbara Rush | ... | Joyce Phillips | |
| Gregg Palmer | ... | Tom Masterson | |
| Paul Cavanagh | ... | Dr. Henry Giraud | |
| Sara Shane | ... | Valerie Daniels | |
| Richard H. Cutting | ... | Dr. Derwin Dodge | |
| Judy Nugent | ... | Judy | |
| Helen Kleeb | ... | Mrs. Eden | |
| Rudolph Anders | ... | Dr. Albert Fuss | |
| Fred Nurney | ... | Dr. Laradetti | |
| John Mylong | ... | Dr. Emil Hofer | |
| Alexander Campbell | ... | Dr. Allan | |
| Mae Clarke | ... | Mrs. Miller | |
| Harvey Grant | ... | Chris Miller | |
| Joseph Mell | ... | Dan (as Joe Mell) | |
| rest of cast listed alphabetically: | |||
| Gail Bonney | ... | Phyllis (uncredited) | |
| George Brand | ... | Doctor (uncredited) | |
| Jack Chefe | ... | Waiter (uncredited) | |
| Harold Dyrenforth | ... | Mr. Jouvet (uncredited) | |
| Lance Fuller | ... | Bar Patron (uncredited) | |
| Jack Gargan | ... | Doctor (uncredited) | |
| Lisa Gaye | ... | Switchboard Girl (uncredited) | |
| Herschel Graham | ... | Bit Role (uncredited) | |
| Joy Hallward | ... | Maid (uncredited) | |
| Myrna Hansen | ... | Bar Patron (uncredited) | |
| Bob Herron | ... | Taxi Driver (uncredited) | |
| Bradford Jackson | ... | Bar Patron (uncredited) | |
| Jack Kelly | ... | First Mechanic (uncredited) | |
| Lucille Lamarr | ... | Nurse (uncredited) | |
| William Leslie | ... | Bar Patron (uncredited) | |
| Paul Levitt | ... | Anesthetist (uncredited) | |
| George Lynn | ... | Williams - Bob's Butler (uncredited) | |
| Kathleen O'Malley | ... | Switchboard Girl (uncredited) | |
| Ray Quinn | ... | Doctor (uncredited) | |
| Lee Roberts | ... | Joe - Mechanic (uncredited) | |
| Norbert Schiller | ... | Julian Lang - Inter-Europa Travel Agent (uncredited) | |
| Frederick Stevens | ... | Cafe Owner (uncredited) | |
| Greta Ullmann | ... | Flower Saleswoman (uncredited) | |
| Charles Victor | ... | Doctor (uncredited) | |
| Will J. White | ... | State Police Sergeant Bill Ames (uncredited) | |
| Robert Williams | ... | State Police Sergeant Burnham (uncredited) | |
| Helen Winston | ... | Receptionist (uncredited) | |
Directed by | |||
| Douglas Sirk | |||
Writing credits | ||
| Lloyd C. Douglas | (novel) | |
| Robert Blees | (screenplay) | |
| Wells Root | (adaptation) | |
| Sarah Y. Mason | (based upon the screenplay by) and | |
| Victor Heerman | (based upon the screenplay by) | |
| Finley Peter Dunne | uncredited | |
Produced by | |||
| Ross Hunter | .... | producer | |
Original Music by | |||
| Frank Skinner | |||
Cinematography by | |||
| Russell Metty | (director of photography) | ||
Film Editing by | |||
| Milton Carruth | |||
Art Direction by | |||
| Bernard Herzbrun | |||
| Emrich Nicholson | |||
Set Decoration by | |||
| Russell A. Gausman | |||
| Ruby R. Levitt | |||
Costume Design by | |||
| Bill Thomas | (gowns) | ||
Makeup Department | |||
| Joan St. Oegger | .... | hair stylist | |
| Bud Westmore | .... | makeup artist | |
Production Management | |||
| Edward Dodds | .... | unit production manager (uncredited) | |
Second Unit Director or Assistant Director | |||
| William Holland | .... | assistant director | |
| James Curtis Havens | .... | second unit director (uncredited) | |
| Gordon McLean | .... | assistant director (uncredited) | |
Sound Department | |||
| Leslie I. Carey | .... | sound | |
| Corson Jowett | .... | sound | |
Special Effects by | |||
| David S. Horsley | .... | special photography | |
Music Department | |||
| Joseph Gershenson | .... | musical director | |
Other crew | |||
| William Fritzsche | .... | technicolor color consultant | |
| Jack Daniels | .... | dialogue director (uncredited) | |
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| Titanic | Gone with the Wind | Cleopatra | Ben-Hur | Clear and Present Danger |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb USA section |
I watched this film as part of my film studies degree and I must admit, at first I was quite sceptical about Sirk and his directorial style. I must say however. I was surprised and when I was, it was a magnificent surprise.
The richness of the colour in the opening scene more than draws you into Sirk's world. The rich and sometimes glorious technicolor that Sirk shows us sums up what his films are about. Beautiful to look at. Stories about hope, devotion and redemption. Yet stories that only exist on a visual surface level. I had never seen a Sirk film before this so the mise-en-scene was at times, quite beautiful and when it was, it was a magnificent sight.
Being only 20 I can't comment much on Rock Hudson or Jane Wymans previous films. In this film however, their performences are drawn from the heart and the mind. A wonderful juxtaposition of feelings, emotions and heart felt affection. The chemistry between the two is at times electric, the two light up the screen and when they do, it is a magnificent feeling.
A criticism often levelled at Sirk is his films are out and out cheese. A claim that, while true most of the time, is part of the joy of watching the Sirk. Two classic scenes in the film are the definition of what Douglas Sirk stands for. Both occur near the end of the film when Jane Wyman is dying. The first, which through no fault of its own, drew hoots of laughter and drum rolls of applause from the cinema audience I viewed it with, occurs seconds before Rock Hudson operates on Wyman. Feeling unsure of himself, he looks up to the observation room above where he sees a mentor of his looking down, almost god like. His mentor gives Hudson the thumbs up and he continues on, saves Wyman's life and cures her blindness as well and when he does, it is a magnificent moment.
The second lies in the context of the films title. Delivered in possibly the best line ever spoken in cinema. Hudson, wanting to be a Doctor is given a lecture. He is told that ... "It will consume you, it will become an obsession, you will become a doctor, and when you do, it will be a Magnificent Obsession..."
Genius.
While I would never tell anyone to watch this film, I wouldn't tell anyone not to watch it either. The film is the definition of feelgood celluloid. OK. I lied. Watch this film. And when you do. It will be a "Magnificent Obsession."