Rain

About the production

The picture was shot primarily on studio sets with artificial rain effects that were considered groundbreaking for the time. The production faced significant challenges from the Hays Code office due to its controversial themes. Joan Crawford fought hard for the role against studio resistance, as they felt it was too risky for her career. The continuous rain effect was achieved through overhead sprinkler systems and required special waterproofing of cameras and equipment.

Themes

Themes & topics

Historical background

Metro-Goldwyn-Mayer (MGM)'s 1932 release of Rain fit contemporary United States programs that mixed fiction, news, and novelty subjects for repeat weekly attendance.

Why this film matters

Programmers and historians revisit Rain (1932) because its story—due to a possible cholera epidemic onboard, passengers on a ship are forced to disembark at pago pago, a small village on a pacific island where it incessantly rains—illustrates popular narrative habits and production norms of the period.

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 picture's post-production was extensive, with MGM making cuts to appease various censorship boards while trying to preserve the story's impact.

What critics said

English-language trade reviews of Rain are limited for 1932. Where notices survive, they stress pacing and photographic clarity; later criticism values the title as archival evidence of studio style.

Did you know?

• This was Joan Crawford's first serious dramatic role and proved her acting abilities beyond her flapper image
• the picture was based on W. Somerset Maugham's 1921 short story 'Miss Thompson' (later retitled 'Rain')
• Walter Huston's portrayal of the hypocritical missionary was considered so powerful that it typecast him in similar roles for years
• the picture was remade in 1953 as 'Miss Sadie Thompson' starring Rita Hayworth
• The original Broadway play adaptation starred Jeanne Eagels, who died during its run
• MGM considered the picture so risky that they initially released it with limited distribution
• The continuous rain effect required over 100,000 gallons of water during filming
• the picture was banned in several countries and cities due to its moral themes
• Joan Crawford reportedly studied real prostitutes to prepare for her role
• the picture's success helped establish the pre-Code era's more daring approach to adult themes

Awards & recognition

• National Board of Review Award for Best Acting (Walter Huston, 1932)

Visual style

The cinematography by Oliver T. Marsh created a claustrophobic, oppressive atmosphere that perfectly matched the picture'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 picture was noted for its ability to convey emotional states through visual composition, particularly in the tense confrontations between Thompson and Davidson.

Innovations

the picture'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 picture 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 picture'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 picture.

Famous quotes

Sadie Thompson: 'I'm not asking for your pity, Reverend. I'm just asking to be left alone.'

Alfred Davidson: 'There is no sin so great that it cannot be washed away by repentance!'

Sadie Thompson: 'You talk about God, but you don't know anything about people!'

Alfred Davidson: 'The devil finds work for idle hands, Miss Thompson.'

Sadie Thompson: 'You can save your soul, Reverend, but don't try to save mine!'

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 audiences thought

Initial audience reception was mixed, with many viewers shocked by the picture'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 picture developed a cult following among classic film enthusiasts who appreciated its pre-Code daring. Modern audiences have discovered the picture through revival screenings and home video releases, with many praising its psychological complexity and powerful performances.

Film connections

Influenced by

• W. Somerset Maugham's short story 'Miss Thompson'
• German Expressionist cinema (for its psychological intensity)
• Stage adaptations of the Maugham story

This film influenced

• Miss Sadie Thompson (1953)
• Baby Face (1933)
• Red Dust (1932)
• I Walked with a Zombie (1943)

Film restoration

the picture is preserved in the MGM film library and has been restored by Warner Bros. (current owner of MGM's pre-1950 library). A high-quality restoration was released on Blu-ray as part of the Warner Archive Collection, featuring improved picture and sound quality. The original nitrate negatives have been transferred to safety film, ensuring the picture's preservation for future generations.

Where to watch

• Warner Archive Blu-ray
• Classic film streaming services (FilmStruck archive, Criterion Channel occasionally)
• DVD collections from Warner Home Video
• TCM (Turner Classic Movies) periodic broadcasts
• Public domain versions available on some streaming platforms (quality varies)