How others will see it. Classic movie fans will find it fascinating. This is the sort of film that caused moralists of the day to fume, which led to the Hollywood Production Code unofficially enacted the following year. Even though Rain is pre-code, it pulls its punches. Seeing this movie, it isn't clear why Crawford is so disreputable (she is apparently a prostitute), or why Huston commits suicide (he apparently rapes her).
What we do get is a panoply of personalities from Crawford. She is the ebullient life of the party, angry woman scorned, the depressed defeatist, the partly brainwashed "saved" woman, and the jaded rape victim whose faith in man has again been crushed. Crawford is the star, courtesy of her breakout film from earlier in the year, Grand Hotel.
Since it was made in 1932, Rain is a creaky early talkie. This is enough to put off many viewers, who can't imagine why anyone would want to see an old black and white film when there are so many newer color movies to choose from. Such irrational thinking is beyond the ability of the present website to cure.
How I felt about it. Joan Crawford is portrayed sympathetically throughout. Most of the characters couldn't care less what she might have done in the past, and readily accept her at face value, as a gregarious and fun-loving hostess.
The exceptions are the shrewish snob Bondi, and her relentless killjoy husband. These two aren't favorably presented, and if Huston actually does rape Crawford at her most vulnerable (you can't be sure based on this film alone, although the W. Somerset Maugham source story or the 1920s Broadway play version may differ) that makes him not only a felon, but (perhaps even worse) a hypocrite. Certainly, real-life missionaries can't be too thrilled with the extremist characters of Huston and Bondi, and would prefer something more like the steadfast but easy-going Bing Crosby in Going My Way.
Crawford's character is more complex and interesting than that of her Bible-beating adversaries. In her first appearance, she acts amiable, but we suspect that is merely a plating over her true mood of despair. This thinly disguised pathos attracts men as much as her looks, which are on the trampy side. Those seeking to save her include not only Huston (who perhaps has as much internal conflict as Crawford) but Gargan, who is willing to make the ultimate gift on her behalf, that of his last name. He can't imagine that she would turn down such a gift, and has equally little doubt that once separated from the antagonizing influence of Huston, she will return to the flirtatious laugh-a-minute personality he fell in love with. Good luck.