Actress Barbara Stanwyck is probably best-known for her roles in films noir like Double Indemnity, where she plays a cold-hearted femme fatale. But, great as she undoubtedly is in this kind of part, I tend to prefer her earlier films when she plays characters with more warmth – as she does in The Miracle Woman, one of Capra’s great pre-Codes. Her character, young bogus evangelist Sister Florence Fallon, must be the sweetest conwoman ever. Indeed, she casts her spell over the audience just as she does over her swooning congregations within the movie.
This early Capra movie is one of many of his works centring on a charismatic figure who is taken up by cynical business interests and used to manipulate the public. Capra and his regular writer Robert Riskin, who adapted this film from his own play Bless You Sister, were not the only film-makers in the 1930s to be interested in this kind of story. (A similar scam is also the theme of William A Wellman’s Nothing Sacred, a film I wrote about here recently and which John Greco has just written a great review of at his blog.) But it does seem to be a Depression-era theme that had a particular appeal for Capra, an idea that he returned to time and again.