All the films from all the editions, including those subsequently removed, presently totalling 1154. An easy way of seeing how…
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.
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?
Am reminded of a George Carlin joke - "the best thing about living on the beach is that you only have assholes coming at you from three sides."
I've been trying to come up with ways to condense what I want to say about this, but there's so much that it seems impossible to do, particularly between tasks at work, which is where I do most of my writing these days for better or worse (definitely the latter). But I'm still thinking about the way Sirk paints the frame with color and light, and the way something as simple as a television set can be a massive imposing presence in a room, sucking all the life out of it (and how Sirk angles it so that it reflects the flame in the fireplace, reasserting its presence). And just everything about the final shot. It's too much to put into words.
"It's all so pointless"
A deer in the snow
Never before have white people
Suffered so beautifully
Mona is a ginormous bitch
On a rewatch I don't know what to add, except that it is wittier than I remembered. Just such an intelligent script. Oh, and that part about being a visual masterpiece, revelling in its own artifice as Sirk balances irony and sincerity more deftly than anyone else ever. I think I can firmly say now after seeing 10 of his films (though this was the first rewatch) that Sirk, as I suspected, is my favourite director ever.
And that deer. Just, that deer.
I'm not sure if I even like the story, but I spent too much time drooling at the visuals to even care.
Sirk uses his color, shadow and production design to make gut-wrenching, breathtaking effects. Wyman's slow deterioration over her doubts and fears is such a perfect performance. Hudson's outsider stoicism works rather well too. Sirk builds worlds so brilliantly and out of such mundane, human stuff.
Gorgeous colors, beautifully shot. Liked it more than Magnificent Obsession, although I still wasn't buying the chemistry between the two leads (sorry, Rock!). Everything else was great though. I loved the shot of Jane Wyman framed in the TV.
Liked this a LOT more than Magnificent Obsession which was my first Sirk. It's interesting that I'm kind of going in reverse. I've already seen the imitations via Haynes and Fassbinder and now I'm seeing the original. I think I like this one best. The others have their good points and are very fine films, but I feel that this one really benefits from the fact that it was made right in the heart of 50's Hollywood. It's a wonderful SCREW YOU to the establishment but with all the visual trappings of the era. Dear Lord the colors are beautiful in this thing! The happy ending seems very tacked on. I'd be content to have it end on Christmas. Oh well. Even the great Douglas Sirk has to make concessions some times.
Um design de produção maravilhoso e uma retratação profundamente madura das convenções sociais da época, muitas das quais perduram até hoje. Permeia alguns clichês dos romances, mas raramente se entrega a eles, usando a relação do casal mais como alicerce para as discussões que propõe.
In case you see it as a joke the movie rips apart the whole "west civ" behaviour and smacks in the face any sterotype human community made possible to exist just cause we are totally a bunch of fucktards!!
if the movie ended with alien invasion maybe i would considered it as a bloody masterpiece!!!
drink everytime the stupid bitch is looking around like she is playing occulus rift
It's got to be one of the most aesthetically on-point films I've seen. The colors, the lighting and the framing are all impeccable. I like that it's a comment on society meshed with romance. I do, however, believe the movie flew through the events a little too quickly for my liking. I would've liked a bit more time to really give the romance the heft it needed. And it honestly feels a bit rushed from the townspeople's perspective. They are absolutely irrationally outraged and then like 10 minutes later everyone has moved on. Otherwise a solid movie
I love this stuff, though I do wonder if Sirk didn't outsmart himself just a tiny bit: isn't Hudson kind of as guilty of gilded-cage-ing Wyman as her children and her society friends? "I can't live that way," he says when she suggests that they might keep her family home, insisting that she move into his old flour mill, or whatever, making clear that they will live *his* way and that there'll be no compromise. Doesn't she get her own uncompromising journey of self-discovery? I kind of don't blame her for backing away, frankly.
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- Citizen Kane
- 2001: A Space Odyssey
- Tokyo Story
- The Rules of the Game
- Grand Illusion
- Seven Samurai
- The Lady Vanishes
- The 400 Blows
The entire Criterion collection organized by spine number.
I don't know why I did this.
Number I've Seen: 147/733