I'm not quite sure what the point of THE SHINING HOUR is since the talky screenplay has everyone telling everyone else what their theories are of the relationships between men and women. Perhaps it's selfish people deserve each other. That's what JOAN CRAWFORD seems to think when she admits that she has everything she wants, including wealthy MELVYN DOUGLAS and a lovely house and everything that goes with luxurious country living. A far cry from the chorus girl existence she knew before.
ROBERT YOUNG only knows that he's smitten with Crawford to the point where his wife, MARGARET SULLAVAN, can't help noticing it. She's the good girl type, warm and appealing in the way she greets Crawford as a new member of the family when she married MELVYN DOUGLAS. But soon she's all misty-eyed at the thought that Robert Young doesn't love her any more.
The story gets a darker element from the bitter woman that FAY BAINTER plays, as the sister of Douglas and Young who resents the intrusion of Crawford, whom she deems not worthy of them. She's so driven by her dislike of Crawford that she takes some desperate measures which don't seem a bit believable--even so far as setting a new house on fire to destroy a marriage she doesn't believe in.
None of it really makes much sense, when you stop to think about it. And oddly enough, the ever reliable FAY BAINTER isn't the least bit effective or interesting as Hannah, the cold-hearted woman who only has a change of heart in the film's final scene. Her motivations, and those of MARGARET SULLAVAN who is all self-sacrificing nobility, are never really made convincing.
Watchable for the professional poise of JOAN CRAWFORD and the others, who are really giving this soap opera more dignity than it deserves.
ROBERT YOUNG only knows that he's smitten with Crawford to the point where his wife, MARGARET SULLAVAN, can't help noticing it. She's the good girl type, warm and appealing in the way she greets Crawford as a new member of the family when she married MELVYN DOUGLAS. But soon she's all misty-eyed at the thought that Robert Young doesn't love her any more.
The story gets a darker element from the bitter woman that FAY BAINTER plays, as the sister of Douglas and Young who resents the intrusion of Crawford, whom she deems not worthy of them. She's so driven by her dislike of Crawford that she takes some desperate measures which don't seem a bit believable--even so far as setting a new house on fire to destroy a marriage she doesn't believe in.
None of it really makes much sense, when you stop to think about it. And oddly enough, the ever reliable FAY BAINTER isn't the least bit effective or interesting as Hannah, the cold-hearted woman who only has a change of heart in the film's final scene. Her motivations, and those of MARGARET SULLAVAN who is all self-sacrificing nobility, are never really made convincing.
Watchable for the professional poise of JOAN CRAWFORD and the others, who are really giving this soap opera more dignity than it deserves.