Rain

Plot

When a ship bound for Apia is forced to quarantine in Pago Pago due to a potential cholera outbreak, its diverse passengers must wait indefinitely in the rain-soaked Pacific outpost. Among them are Sadie Thompson, a spirited prostitute from San Francisco, and Alfred Davidson, a self-righteous missionary determined to save souls. Davidson becomes obsessed with reforming Sadie, subjecting her to relentless psychological torment and moral condemnation. After successfully arranging her deportation back to San Francisco, Davidson himself succumbs to his own repressed desires and commits suicide, revealing the hypocrisy beneath his pious facade. The film powerfully explores themes of moral hypocrisy, human weakness, and the complex nature of redemption against the backdrop of the perpetually raining island.

Historical Background

Released during the pre-Code Hollywood era (1930-1934), 'Rain' emerged at a time when filmmakers could explore more adult themes before the strict enforcement of the Hays Code. The Great Depression was in full force, and audiences were seeking films that addressed complex moral questions rather than providing simple escapism. The film's exploration of religious hypocrisy and sexual morality reflected growing skepticism about traditional institutions during this turbulent period. The story's setting in a colonial Pacific outpost also resonated with contemporary American interests in overseas territories and the cultural clashes that occurred there. The film's production coincided with the transition from silent films to sound, allowing for more nuanced performances through dialogue and vocal expression.

Making Of

The production of 'Rain' was marked by significant controversy and studio anxiety. MGM executives were initially reluctant to produce such a morally ambiguous story, especially with their star Joan Crawford in such a provocative role. Crawford fought passionately for the part, even threatening to walk away from her contract if denied the opportunity. Director Lewis Milestone, known for his ability to handle difficult material, insisted on maintaining the story's dark themes despite pressure from censorship boards. The filming of the continuous rain sequences proved technically challenging, requiring innovative solutions from the special effects department. Walter Huston immersed himself so deeply in the role of the fanatical missionary that he reportedly remained in character between takes, creating tension on set. The film's post-production was extensive, with MGM making cuts to appease various censorship boards while trying to preserve the story's impact.

Visual Style

The cinematography by Oliver T. Marsh created a claustrophobic, oppressive atmosphere that perfectly matched the film's themes. The use of low-key lighting and shadow emphasized the moral ambiguity of the characters and their motivations. The continuous rain effect was achieved through innovative techniques, including overhead sprinkler systems and careful camera positioning to maintain visual clarity despite the water. The contrast between the dark, confined interior spaces and the occasionally visible but perpetually gray exterior reinforced the characters' psychological imprisonment. Marsh's work on the film was noted for its ability to convey emotional states through visual composition, particularly in the tense confrontations between Thompson and Davidson.

Innovations

The film's most significant technical achievement was its groundbreaking rain effects, which required the development of new waterproofing techniques for cameras and electrical equipment. The production team created a system of overhead pipes and nozzles that could produce realistic rainfall while maintaining control over the intensity and duration. The sound recording techniques used to capture both dialogue and the constant rain without technical interference were considered advanced for the time. The film also featured innovative lighting setups that could compensate for the diffused light created by the artificial rain while maintaining the moody atmosphere required by the story.

Music

The musical score was composed by William Axt, who was MGM's primary music director during this period. The score prominently featured melancholic themes that underscored the film's tragic elements, with particular emphasis on musical motifs that represented the oppressive rain and the characters' internal conflicts. The soundtrack made effective use of diegetic music, including popular songs of the era that Sadie Thompson would have known, creating an authentic period atmosphere. The sound design was particularly innovative in its treatment of the continuous rain, which served as both atmospheric element and psychological metaphor throughout the film.

Memorable Scenes

• The intense confrontation scene between Sadie and Davidson in the hotel room, where he attempts to force her into prayer and confession while she defiantly resists his psychological manipulation
• The powerful sequence where Davidson, having succumbed to his own temptations, walks through the rain in a state of moral collapse before his ultimate demise
• The opening scenes establishing the oppressive atmosphere of the rain-soaked Pago Pago and the diverse group of stranded passengers
• The climactic scene where Sadie, having learned of Davidson's death and his hypocrisy, reacts with a complex mix of emotions including vindication and pity

What Critics Said

Contemporary critics were divided but generally praised the performances, particularly Walter Huston's intense portrayal of the conflicted missionary. The New York Times called it 'a powerful and disturbing film' while noting its challenging themes. Variety praised Joan Crawford's 'startling transformation' from her usual roles. Modern critics have reevaluated the film as a pre-Code masterpiece, with many considering it among the best adaptations of Maugham's work. The film's psychological depth and visual atmosphere have been highlighted by contemporary reviewers, with particular attention paid to Milestone's direction and the effective use of the rain motif as both literal and metaphorical element.

What Audiences Thought

Initial audience reception was mixed, with many viewers shocked by the film's frank treatment of sexuality and religious hypocrisy. However, the controversy generated significant box office interest, particularly in urban areas where more sophisticated audiences appreciated the adult themes. Joan Crawford's fans were initially surprised by her dramatic turn but ultimately embraced her expanded range as an actress. Over time, the film developed a cult following among classic film enthusiasts who appreciated its pre-Code daring. Modern audiences have discovered the film through revival screenings and home video releases, with many praising its psychological complexity and powerful performances.

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