If its 110 minutes’ running time makes it appear a bit sluggish, the sensitive and intelligent development (from the novel by Lloyd C. Douglas) ultimately makes the initiallethargic progression appear justified. With its metaphysical theme of godliness and faith, the spiritual background of Magnificent is magnificent.
It’s patent that Irene Dunne and Robert Taylor, co-starred, must clinch for the finale, even though it was a drunken mishap by the wastrel (Taylor) which had something to do with the death of the venerable Dr Hudson. Dunne is the widow of Dr Hudson, and Taylor’s ultimate reformation is achieved because of the romantic attachment for her.
That he becomes a Nobel prize-winner and a surgical marvel in six or seven years, finally achieving the restoration of her sight (after a high-powered battery of medical savants had previously failed to accomplish anything) is rather deftly skirted, for all the theatricalism of the basic elements.
Besides the stellar pair, Charles Butterworth and Betty Furness in secondary prominence scintillate.