I was very fortunate to DVR a pristine copy of this many years ago on TCM and I have watched it probably 30 times since.My dad made several auto trips across the US in the twenties and earlier. Though this was 1934, it provides me with a visual perspective on some of what he may have encountered before there was a national system of highways, or many paved roads for that matter.My enjoyment of this film comes mostly from the glimpses into early motoring. As a kid in the early fifties I made many a trip from California to Iowa with my folks on route 66. Motoring was not all that sophisticated even in the early fifties and that plays into it as well.This review/comment is not so much about the finer points of the movie as it is a statement on how enjoyable it is for me because of the time in which it was made.The fact that there is a great little drama playing out and lots of ventures into quirky personalities and side plots, is just icing on the cake.

...the answer is NO!! There wasn't much heat lightning going on in this movie either!! Ann Dvorak had been one of the most exciting new talents to emerge in the early thirties but her rebellious attitude with studio heads made sure her talent was kept under a rock and her role as Myra in this film was a part any contract actress could have played. It was just another nail in the coffin of Ann's once promising career. It was up to good old Aline MacMahon to give some vitality to her role as Olga, the older sister, who has managed to keep her passions hidden for many years.This movie appears more like a very watered down version of "The Petrified Forest" without the psychological undertones and the powerhouse performance of Humphrey Bogart. Preston Foster had shown he could give dynamic performances (his Killer Meares in "The Last Mile") but unfortunately not in this movie. Olga and Myra run a road side diner 1,000 miles from anywhere, smart and efficient Olga servicing the cars, Myra yearning to get away. Poor Ann spends most of the movie with her head in her arms. For a service station, stuck in the middle of nowhere, it does a brisk trade, there is a bickering older couple, two would be starlets (lively Muriel Evans is billed as a blonde cutie), two freshly divorced gals on their way back from Reno (Glenda Farrell and Ruth Donnelly) and Jerry (Preston Foster) and his jittery sidekick (Lyle Talbot) on the run from a bank holdup. Jerry knows Olga from years before, he is the man she is trying to forget. When he overhears Mrs. Tifton (Farrell) discussing her jewelry he decides to play on Olga's pent up emotions - and have his friend rob the divorcée, but plans are changed when the women decide to put the jewelry in the safe. Not only does Olga realise she has been played for a fool but Myra comes home from the party that she had been forbidden to go to a bit the worse for wear.For all the "action" (and I use the term loosely) the movie doesn't seem to go anywhere but amazingly Aline MacMahon gets a part she can really sink her teeth into. Her Olga is no nonsense and all business but when her past catches up with her she displays vulnerability and longing in a very real way!!! There was no one like Aline!!!

If you can get over the unlikely pairing of ALINE MacMAHON and PRESTON FOSTER as former lovers and stand the desert heat at a motor court stranded in the middle of nowhere, you may be able to accept some of the melodramatics of HEAT LIGHTNING.Nevertheless, I have to agree with The N.Y. Times when it summed it up as: "Drab melodrama with occasional flashes of forced comedy." The forced comedy is supplied by RUTH DONNELLY and GLENDA FARRELL as two rich dames being chauffeured by FRANK McHUGH, and in an early scene, JANE DARWELL and EDGAR KENNEDY as a bickering married couple who stop by for car repair and a coke. Otherwise, it's pretty dreary stuff, with Foster trying to con McMahon and her sister (ANN DVORAK) out of some money in their safe.The downbeat ending only emphasizes the dreariness of the plot which seems to go nowhere fast.

This predecessor of The Petrified Forest (criminals on the lam change the lives of assorted characters at an isolated lunchroom) shows its origin as a Broadway play, but it's faster moving, less pretentious, and a lot less talky than the better known movie. The large cast is wonderful, especially the great Aline MacMahon; their characters well defined; and the direction and cinematography are crisp and professional. It's well worth the hour it takes to watch it.