It is ironic that during the 1950s, when the former Douglas Sirk was at his most successful in terms of audience appeal, he was virtually ignored by the critics... He is now seen, however, as a director of formidable intellect who, despite his background in classical and Avant-Garde Theater, achieved his best work in melodrama...
With its penetrating, literate screenplay, its fine and sympathetic acting, its tasteful sets and artwork, its wonderful music, cleverly adapted from some of the finest music of Franz Liszt and other romantic composers, 'All That Heaven Allows' is another film, passed over in its own time as "just another soap opera."
Sirk tries to capture the tensions of real everyday living in his representation of a lonely elegant widow steeped in a snobbish society...
Jane Wyman is (Cary Scott), a pleasant middle-aged widow who is having difficulty in adjusting to her status... She lives in comfortable circumstances in a handsome house, but her character is more concerned with maintaining a veneer of social respectability than with addressing reality...
Sirk turns a conventional love story, between Cary and her much younger gardener and nurseryman Ron Kirby (Rock Hudson) into a study of the fall of American idealism and innocence, and lush images of nature contrasting with claustrophobic, petty-minded snobbery of a country-club set...
Ron prefers to grow plants in his nursery near an old mill, and lives life according to his own rules - which do not comprise cocktail parties, gossip, and superficial camaraderie... He is obviously handsome, and Cary gives herself numerous reasons why she should not encourage him... The difference in their respective ages being, in her view, the most salient of all... But Ron keeps returning, it is obvious he is attracted to her...
But as their romance deepens, so does the widow's dilemma... The family, so often glamorized by Hollywood, is regarded as selfish and inhibiting, with the widow's teenage children horrified at the idea of another man tainting their dead father's sacred memory... So Cary retreats, and decides to walk away from a love that promises the chance to rediscover her own passion in his sensual embrace...
Sirk does interesting things with reflections, most notable the sight of Wyman reflected in the screen of a television set that her son and daughter buy her in Christmas to keep her company... Staring deeply into its surface, deep sadness closed her heart as she wanted to escape the pain of her mistake... Her physician (Hayden Rorke), whom she consults on her miserable headaches, tells her that there is absolutely nothing wrong with her, that she must stop living by the opinions, the smiles and frowns of others...
Wyman convincingly gives the impression of a woman torn between the fires of her own heart and her devotion to her family and friends... She and Hudson have a good chemistry together, and obviously the film, exquisitely photographed in Technicolor, carries off its intended effect perfectly...
With its penetrating, literate screenplay, its fine and sympathetic acting, its tasteful sets and artwork, its wonderful music, cleverly adapted from some of the finest music of Franz Liszt and other romantic composers, 'All That Heaven Allows' is another film, passed over in its own time as "just another soap opera."
Sirk tries to capture the tensions of real everyday living in his representation of a lonely elegant widow steeped in a snobbish society...
Jane Wyman is (Cary Scott), a pleasant middle-aged widow who is having difficulty in adjusting to her status... She lives in comfortable circumstances in a handsome house, but her character is more concerned with maintaining a veneer of social respectability than with addressing reality...
Sirk turns a conventional love story, between Cary and her much younger gardener and nurseryman Ron Kirby (Rock Hudson) into a study of the fall of American idealism and innocence, and lush images of nature contrasting with claustrophobic, petty-minded snobbery of a country-club set...
Ron prefers to grow plants in his nursery near an old mill, and lives life according to his own rules - which do not comprise cocktail parties, gossip, and superficial camaraderie... He is obviously handsome, and Cary gives herself numerous reasons why she should not encourage him... The difference in their respective ages being, in her view, the most salient of all... But Ron keeps returning, it is obvious he is attracted to her...
But as their romance deepens, so does the widow's dilemma... The family, so often glamorized by Hollywood, is regarded as selfish and inhibiting, with the widow's teenage children horrified at the idea of another man tainting their dead father's sacred memory... So Cary retreats, and decides to walk away from a love that promises the chance to rediscover her own passion in his sensual embrace...
Sirk does interesting things with reflections, most notable the sight of Wyman reflected in the screen of a television set that her son and daughter buy her in Christmas to keep her company... Staring deeply into its surface, deep sadness closed her heart as she wanted to escape the pain of her mistake... Her physician (Hayden Rorke), whom she consults on her miserable headaches, tells her that there is absolutely nothing wrong with her, that she must stop living by the opinions, the smiles and frowns of others...
Wyman convincingly gives the impression of a woman torn between the fires of her own heart and her devotion to her family and friends... She and Hudson have a good chemistry together, and obviously the film, exquisitely photographed in Technicolor, carries off its intended effect perfectly...