If you're feeling overwhelmed, but still want to squeeze a film into your daily routine, this list is made for…
All That Heaven Allows
How much does Heaven Allow a Woman in Love?
Friends and family want a rich widow to end her romance with a tree surgeon about 15 years her junior.
i braced myself for disappointment at the start of this vaunted classic i've been dodging for years-- but i needn't have worried. it seems that growing up in soulless white suburbia, reading thoreau as a kid and knowing there was something- anything- beyond the nightmare of bourgeois conformity was just preparing me for this moment. i'm still stunned at how hard it hit me. my parents never understood but sirk did, and long before i was born
This review may contain spoilers. I can handle the truth.
A deer enters the scene during the final image, as if to suggest that this union of widow Cary Scott (Jane Wyman) and Ron Kirby (Rock Hudson), her former gardener turned tree farmer, has been enshrined by God and Nature. Melodrama is a genre uniquely capable of fashioning such transcendental pairings, couples that simply must be together, and Sirk cultivates images of his couple that take them out of the coarse, material world and raise them up, turning them into icons, situating them in tableaux that would be familiar to the great religious painters of the Renaissance. He will either join them together against a natural backdrop of some sort, the kind that evokes the pastoralia of the great Romantic…
"Cary, let's face it: you were ready for a love affair, but not for love."
Lately I've been fascinated with melodrama, in particular the way its priorities differ from the expectations of what we might loosely refer to as a "good film". In general, we seem to want relatable characters in realistic situations which in turn evoke an emotional response; but in melodrama, everything is backwards. As Sidney Lumet once said, "In a well-written drama, the story comes out of the characters. The characters in a well-written melodrama come out of the story." Perhaps this is why the term has come to take on pejorative connotations in recent years: in melodrama, emotion comes first, even if it's at the expense…
there truly is no sacrifice quite like that of a mother's
aka moms are so fuckin cool & underrated im sorry mom you rule
God, the production design and cinematography, yes, and the withering portrait of repressive values, but sometimes I think that the artistic virtues of Sirk, of which there are many, are stressed as a means of justifying his chosen field of women's pictures, when even on a script level this is such a compelling movie, and so forcefully acted that its subtext, however key to the picture, is still the subtext under a direct swirl of emotions. It's all great, is what I'm saying. Why has it taken me so long to really dig into Sirk?
Douglas Sirk said that films need violence, a statement that some may find surprising, especially considering this one: an admittedly sappy melodrama about seemingly impossible love. But I think the most violent act in his films is a subtle (though effective) one that can be found within the so-called happy ending. He fulfills 50s Hollywood's need for perfectly wrapped up conclusion where everything is right and nothing is left unresolved- or at least this is what it's disguised as.
When the rest of the film is steeped in social problems and conflict, simply tying it up by having the protagonist follow their heart and topping it off by making it sickenly visually beautiful to the point of total falsity is…
Not sure if I have to do a discussion questions for the movie along with the reading but here my questions:
1) Reading: What is the significance of a "meaning" in order for it to follow the rules for "encoding/decoding" a text?
2) Movie: What form of influence and control caused Cary to let others dictate the outcome of her life?
That blue light....
This is an interesting film about a widowed mother (Cary) of two (children are in college) who falls for a youngish gardener (Ron). The attraction isn’t immediately obvious. At no point does Cary or the film ever sexualize Ron, but it is made clear that others find him very attractive. There is an interesting theme of dominance over Cary, with a weird respect. However, that respect is conditioned on Cary doing everything Ron asks of her. He believes that his way of living is more relaxed without the stress of societal pressures to live up to a certain standard. But when Cary asks for a chance to ease into his lifestyle, he refuses her. So, while he believes happiness is more important than status, he is not willing to let others be happy through their own choosing. Overall, I think the film was good, but enjoyment was taken away due Ron’s lack of acceptance of Cary’s life and decisions.
In the older woman/younger man sub-genre, All That Heaven Allows ranks a little below Ali: Fear Eats the Soul but far above Harold and Maude.
The film is gorgeous to look at. Modern color might look more realistic, but there's nothing as incredible looking as technicolor
"To thine own self be true".
The unmerciful socialites attempt to break the carefree goodness of an enduring widow and happiness. Sirk sharply balances the taboo sexuality of the 50's with the repression of our natural emotions and it makes for a glorious romance. It also doesn't hurt that every frame is perfectly captured to give Heaven a classy feel of infinite glow.
I'M A SLUT FOR COLORS AND I WILL DIE FOR JANE WYMAN
"All That Heaven Allows" is a 1955 melodrama directed by Douglas Sirk, and stars Jane Wyman and Rock Hudson. Wyman plays Cary Scott, a well off widow from New England that lives in a closed net community of wealthy socialites who attend country clubs and everyone is caught up on all the gossip. She then gains the interest of Ron Kirby (Hudson), her gardener who is more down to earth than her stuffy friends, and who is also much younger than her.
What distinguishes this 'women's picture' from others of its time is the subversive streak director Douglas Sirk contains in the themes of the picture, written by Peg Fenwick. The cinematography by Russell Metty has a cool beauty about…
Me @ todd haynes: i see you 👀
This review may contain spoilers. I can handle the truth.
There are two key points of extreme importance to ellaborate on here in order to tackle All That Heaven Allows from a more accurate angle.
I. Melodrama.- Melodrama is an idealization of real-life based situations faced everyday. It intentionally exponentializes situations and events meant to trigger relatable emotions in the audience. It's a sort of fantasy filmmaking: the scope is so dramatic that it is rendered as unrealistic, but also so relateable that it cannot be considered as complete fiction. Sirk utilizes this vehicle to move sensitive fibers and this is clear under the demands of Hollywood producers. I mention this because Sirk originally intended to end the film ambiguous, but producer Ross Hunter opted for a happier ending full…
All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…