Mervyn LeRoy has directed a compelling drama for Warner Brothers. Two things come to mind when watching this film. First, its use of exteriors is so well done, you cannot tell what was filmed on location and what was done on the studio. Backlot. Related to that is its outdoor lighting, especially during scenes where heat lightning occurs. This creates a glowing sort of ambience, at odds with the dark natures and internal struggles of the characters.
Though the story is based on a Broadway play, it feels very much opened-up and not at all stagey the way THE PETRIFIED FOREST does, which is also set in a southwestern desert region. Also, there are realistic touches in the dialogue where we hear about the extreme heat and how these people try to take refuge in the shade.
The second thing that comes to mind is the fact that as one of the last real precodes, its content is quite shocking. HEAT LIGHTNING was condemned by the Catholic church. There is a murder at the end, where a crook on the run (Preston Foster) is shot down by the heroine (Aline MacMahon). She compares getting rid of him like one would get rid of an unwanted rat. Her declaration of homicide is touted as part of the movie's advertising. It wasn't exactly justifiable homicide, and she does get away with it.
Besides the killing she has slept with the cad without benefit of marriage. At the same time, her kid sister (Ann Dvorak) has lost her virginity to another cad that carted her off to a local dance.
These gals are literally screwed over and have nothing good to show for their trouble. Running their roadside gas station, lunch counter and motor court is what keeps them going in the middle of nowhere. It's all they have, besides each other.
Meanwhile there are two other gals in the story (Glenda Farrell and Ruth Donnelly) with issues of their own. They are recent divorcees fresh from a stay in Reno, who are spending the night with all their money and jewels. Farrell and Donnelly play their roles to the hilt, bordering on camp.
A strange triangle involves them and their somewhat henpecked chauffeur (Frank McHugh). The bickering and jealous banter between them provides some comic relief. Though you do have to wonder why McHugh hasn't disappeared into the sunset since they make him wait on them hand and foot, at all hours, and the poor sap doesn't get a break!
In addition to the these travelers, there are locals who stop by...such as the sheriff, who is looking for Foster the bank robber and his accomplice (Lyle Talbot). And we also see that there is a guy from a nearby village (Williard Robertson) who is sweet on MacMahon and will remain by her side, even after she's killed Foster.
The film ends with Miss MacMahon returning to turn life as normal. She and her sister will continue to occupy themselves by providing service to those who need it. In this desolate setting, amid the Joshua trees, happiness can be found where there isn't any trace of the rat race.
Though the story is based on a Broadway play, it feels very much opened-up and not at all stagey the way THE PETRIFIED FOREST does, which is also set in a southwestern desert region. Also, there are realistic touches in the dialogue where we hear about the extreme heat and how these people try to take refuge in the shade.
The second thing that comes to mind is the fact that as one of the last real precodes, its content is quite shocking. HEAT LIGHTNING was condemned by the Catholic church. There is a murder at the end, where a crook on the run (Preston Foster) is shot down by the heroine (Aline MacMahon). She compares getting rid of him like one would get rid of an unwanted rat. Her declaration of homicide is touted as part of the movie's advertising. It wasn't exactly justifiable homicide, and she does get away with it.
Besides the killing she has slept with the cad without benefit of marriage. At the same time, her kid sister (Ann Dvorak) has lost her virginity to another cad that carted her off to a local dance.
These gals are literally screwed over and have nothing good to show for their trouble. Running their roadside gas station, lunch counter and motor court is what keeps them going in the middle of nowhere. It's all they have, besides each other.
Meanwhile there are two other gals in the story (Glenda Farrell and Ruth Donnelly) with issues of their own. They are recent divorcees fresh from a stay in Reno, who are spending the night with all their money and jewels. Farrell and Donnelly play their roles to the hilt, bordering on camp.
A strange triangle involves them and their somewhat henpecked chauffeur (Frank McHugh). The bickering and jealous banter between them provides some comic relief. Though you do have to wonder why McHugh hasn't disappeared into the sunset since they make him wait on them hand and foot, at all hours, and the poor sap doesn't get a break!
In addition to the these travelers, there are locals who stop by...such as the sheriff, who is looking for Foster the bank robber and his accomplice (Lyle Talbot). And we also see that there is a guy from a nearby village (Williard Robertson) who is sweet on MacMahon and will remain by her side, even after she's killed Foster.
The film ends with Miss MacMahon returning to turn life as normal. She and her sister will continue to occupy themselves by providing service to those who need it. In this desolate setting, amid the Joshua trees, happiness can be found where there isn't any trace of the rat race.