6.4/10
838
24 user 7 critic

Rage in Heaven (1941)

Approved | | Drama, Thriller | 7 March 1941 (USA)
Old friends Ward and Phillip both become smitten with Phillip's mother's attractive young secretary Stella. But Stella marries Phillip and stands by him as his behavior becomes more and ... See full summary »

Directors:

W.S. Van Dyke (as W.S. Van Dyke II), Robert B. Sinclair (uncredited) | 1 more credit »

Writers:

Christopher Isherwood (screen play), Robert Thoeren (screen play) | 1 more credit »
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2 wins. See more awards »

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Cast

Complete credited cast:
Robert Montgomery ... Philip Monrell
Ingrid Bergman ... Stella Bergen
George Sanders ... Ward Andrews
Lucile Watson ... Mrs. Monrell
Oskar Homolka ... Dr. Rameau (as Oscar Homolka)
Philip Merivale ... Mr. Higgins
Matthew Boulton ... Ramsbotham
Aubrey Mather ... Clark
Frederick Worlock ... Solicitor-General (as Frederic Worlock)
Francis Compton ... Bardsley
Gilbert Emery ... Mr. Black
Ludwig Hardt ... Durand (as Ludwig Hart)
Rest of cast listed alphabetically:
Stuart Hall ... Traveling Salesman (scenes deleted)
Major McBride Major McBride ... Bank Clerk (scenes deleted)
Clive Morgan Clive Morgan ... Traveling Salesman (scenes deleted)
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Storyline

Old friends Ward and Phillip both become smitten with Phillip's mother's attractive young secretary Stella. But Stella marries Phillip and stands by him as his behavior becomes more and more erratic and his jealousy of Ward increases. Written by Ron Kerrigan <mvg@whidbey.com>

Plot Summary | Add Synopsis

Genres:

Drama | Thriller

Certificate:

Approved | See all certifications »
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Details

Country:

USA

Language:

English | French

Release Date:

7 March 1941 (USA) See more »

Also Known As:

Alma en la sombra See more »

Company Credits

Production Co:

Metro-Goldwyn-Mayer (MGM) See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Sound System)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

Joy Davidman (later the wife of William Lindsay Gresham, and later still the wife of C.S. Lewis) worked on an early version of the script before the task was handed over to Christopher Isherwood. Davidman was employed as a scriptwriter for MGM for approximately six months in 1939, however none of her scripts were used. See more »

Goofs

The movie commences with a quote, "Heaven hath no rage like love to hatred turned", which it attributes to Milton. The quote is in fact from William Congreve's play The Mourning Bride. See more »

Connections

Referenced in Murder, She Wrote: No Laughing Murder (1987) See more »

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User Reviews

Another Hilton-based movie
13 May 2004 | by theowinthropSee all my reviews

James Hilton was not a great novelist, but he was a popular one in the 1930s and 1940s, and two of his books have managed to become minor classics. Both also were the basis of popular films: LOST HORIZON and GOODBYE MR. CHIPS. But, oddly enough, they were not the only Hilton novels that made it to the screen, nor the only two that became classic films. RANDOM HARVEST can be added to his novels that became film classics. And he also wrote his "Crippen" novel, WE ARE NOT ALONE (which starred Paul Muni and Dame Flora Robson), and this film, RAGE IN HEAVEN. In story it actually resembles RANDOM HARVEST a bit: In that film Ronald Colman is an amnesiac from World War I who escapes from an asylum, and eventually turns out to be the head of a large industrial empire. In RAGE IN HEAVEN Robert Montgomery is a paranoid who flees an asylum in France, and turns out to be the head of a large industrial empire. But Colman's character is intelligent and fair minded - a good boss. Montgomery is argumentative, harsh, and (ultimately) incompetent and cowardly. One can say that RAGE IN HEAVEN is the dark side of RANDOM HARVEST.

Robert Montgomery's film career is one of the most aggravating in Hollywood history. He built up a career in the 1930s playing cads and bounders in MGM comedies, with an occasionally good comic hero role (THE LAST OF MRS. CHEYNEY and TROUBLE FOR TWO come to mind). Then he got the plum role of the psychopathic Danny in NIGHT MUST FALL, and an Oscar nomination for best actor in 1937. But he did not get the Oscar (Spencer Tracy did). I have always suspected that had Montgomery won the Oscar he deserved to his name would be properly remembered today, as more than just a good actor who was the father of television's "Samantha", Elizabeth Montgomery. Instead, while he still had some good parts later in his career (many as a director and producer, as well as actor), he never got the recognition he thoroughly deserved.

It is obvious that RAGE IN HEAVEN was meant to be a follow-up "psycho" role for Montgomery, following Danny. But Phillip Morell is not as well done as Danny, probably because NIGHT MUST FALL was a play by Emlyn Williams originally, and so it was easier to transfer it to the screen than Hilton's novel. But then, LOST HORIZON, MR. CHIPS, and RANDOM HARVEST were well done screenplays too. Danny (for all his murderous habits) has his human moments, but Phillip doesn't. Phillip is always under-spoken and wide eyed. He always is on the verge of exploding (and similarly of collapsing - witness the moment the Union leadership force their way into his office to confront him over his unwillingness to settle the labor impasse, and how he just collapses and runs out yelling, "Give them whatever they want!"). A modern treatment might develop his mania somewhat. It is obvious that Hilton understood what paranoids were capable of - the business about the hidden confession in the diary rings true - but it is still not developed enough for the audience to understand. We know that Phillip's father was insane (and committed suicide) but more details are needed.

It was Ingrid Bergman's third or fourth American film. She was slowly inching her way to real stardom (she had touched it opposite Leslie Howard in the Hollywood version of INTERMEZZO), but her performance, while natural, is not very memorable. George Sanders again demonstrates his dependability in any role, here as a good guy almost destroyed by his mad friend. Oscar Homolka does a good job as the asylum head, whose assistance to Bergman saves Sanders in the end. It is not as good a film as it should have been with a better laid out script, but it is watchable one or two times.


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