Master of His Fate dent. The thinly disguised Christian mes­ that were transformed into films were cloth such as Douglas did not hold mov­ sage of the novel is that a person can gain Green Light (Warner Brothers, 1937) and ies in especially high regard. A thought­ a supernatural advantage in doing good Disputed Passage (Paramount, 1939). This ful memoir by his two daughters tells us deeds, especially in doing so anonymously. last is considered by many critics to be much of his life after leaving Indiana, but (Douglas wrote: “But when you do a kind­ Douglas’s strongest book. It reveals his says nothing about his opinions of the cel­ ness to someone do it secretly—and don’t knowledge of the world of medicine and luloid versions of his work. His appearance tell your left hand what your right hand his ability to develop fascinating charac­ in the little prologue to Disputed Passage, is doing. And your Father who knows all ters. The film, though not a strong one, however, might indicate that he was not secrets will reward you.”) Much of the begins in a most unusual way. During the unfavorably disposed to that particular novel’s story takes place in a lake area not credits the name “Lloyd C. Douglas’’ is film. unlike northern Indiana’s Lake Wawasee, displayed and the camera focuses on the By 1936 Douglas and his wife were where Douglas and his wife had gone on name. It then dissolves to a shot of Doug­ residents of the affluent Bel Air area near their honeymoon. las seated at a desk writing a letter. The Hollywood. His daughters’ book, The Universal Pictures purchased the film letter then appears on the screen and reads Shape o f Sunday, contains some fleeting rights to Magnificent Obsession and trans­ as follows: “Dear Paramount—Thank references to the Hollywood scene. On formed it into a very profitable movie in you so much for preserving the full flavor one occasion the Douglases invited to din­ 1935. This first version of the story, which o f 'Disputed Passage’ in this beautiful ner actresses Bainter, who played Hannah starred Irene Dunne and Robert Taylor, picture! Those who liked the characters in in White Banners, and Dunne, who played managed to convey the basic message of the book will be glad to see them come to Helen in Magnificent Obsession. Dunne the book without becoming excessively life here.” was among the leading actresses in Hol­ cloying or preachy. (The film also featured There seems to be no record of what lywood at the time and had deep Hoosier a sterling performance by Hoosier native Douglas thought of other film versions of roots. Though born in Louisville, she spent Charles Butterworth in the role of Tommy his books. It is possible that a man of the her formative years in Madison, Indiana. Masterson, a character much different than that in the book.) The movie became such a hit that Universal remade it in 1954 with Jane Wyman and Rock Hudson and, in terms of box office revenue, it was even more successful than the first version. Most critics agree that the original is the better film. Both pictures had the distinc­ tion of boosting their respective leading men—Taylor and Hudson—to stardom. In 1930 Douglas gave up the ministry in order to write full time. It now seems quite remarkable that a person would, at age fifty-three, suddenly become a famous and prosperous author after working so long and successfully in another profes­ sion. In the 1930s he produced a string of successful novels, including Forgive Us Our Trespasses, Precious Jeopardy, Green Light, White Banners, Home for Christmas, Dis­ puted Passage, Dr. Hudsons Secret Journal, and Invitation to Live. Actor Robert Taylor attempts to ingratiate him self with Irene Dunne as Arthur Treacher In addition to Magnificent Obsession casts a doubtfu l eye in this scene from the 1935 film version o f Douglas’s novel Magnificent and White Banners, other Douglas works Obsession by Universal Pictures. TRACES Spring 2008 | 53.