|
|
Post by wmcclain on Feb 13, 2021 20:43:14 GMT
All That Heaven Allows (1955), directed by Douglas Sirk. This tragic romance of an older widow and younger -- very studly -- man is not as "weepy" as other Sirk projects, but is even more direct in its condemnation of social codes and hypocrisy. Jane Wyman is only eight years older than Rock Hudson here, but we are supposed to imagine a larger gap. She has adult children and I suppose he is supposed to be about their age, although he's been to war, has his own business and seems more mature. No one understands -- or will accept -- that a widow with grown children can still feel passion. Society and town gossips conspire to keep her from pursuing her own happiness. The kids are particularly vile: Mom's escaping! Can't allow that! An especially interesting aspect is how mainstream, rigid, judgmental society is shamed in comparison to an alternative, artistic, lightly bohemian counterculture. Who wouldn't prefer the latter to the former? And when did this start in film? You get a touch of it with Cary Grant and Katherine Hepburn in Holiday (1938) and Capra has an eccentric screwball treatment in You Can't Take It With You (1938). Once we reach the beatnik and hippy era it's all over: Hollywood rushes to other side of the boat and the counterculture becomes mainstream. Sirk's work was once belittled for being merely "women's" pictures, but which seems more radical in retrospect. We are used to movies being about men watching women, with plots made from the effect women have on men. Sirk is able to turn it around: this is about a woman looking at a man and her struggles with what that does to her. Agnes Moorehead (look at that red hair!) gets a break from villain roles to be a good best friend. Daughter Gloria Talbott was last seen in I Married a Monster from Outer Space (1958). Russell Metty's Technicolor photography is an exciting, saturated assault on the eyes: that lovely New England autumn. Criterion Blu-ray. The commentary track has good insight into how much the costuming tells the story, something I wouldn't have noticed otherwise. 
|
|
|
|
Post by teleadm on Feb 13, 2021 21:36:32 GMT
How would one react if one looses a parent and the surviving part still have feelings and starts dating again, wouldn't that new one in his/her life feel like an intruder in what was once a comfort zone. My own parents became around 90 and sadly demented and couldn't remember why they lived together. So I never experienced that myself This movie that I once though was a sort of blaha romance. Asks us what to expect from parents, just sit around and watch television till they die, when one is gone, or should they be allowed some social life, and maybe meet someone, hell breaks loose, fall in love, and why should children interfere, what's wrong with a widow or widower being happy again. I'm 60 now and still call my gal GF, and I've felt the hostility of her son, it takes time to overcome what he thought was an intrusion, it takes time and trust, and that I'm not stealing your mother.  
|
|
|
|
Post by politicidal on Feb 13, 2021 22:02:49 GMT
7/10.
|
|
|
|
Post by petrolino on Feb 13, 2021 22:29:35 GMT
I have 7 films in a 'Douglas Sirk Box Set' and this is one of them. I think of them as works of unfathomable beauty.
|
|
|
|
Post by spiderwort on Feb 14, 2021 1:39:23 GMT
Really appreciate your thoughtful comments, Bill. I'm big fan of this film, my favorite of all Sirk films, after Imitation of Life, Written on the Wind, and The Tarnished Angels. Its themes of loss, loneliness, and the healing power of nature really resonate with me. I love that Sirk became an iconic director, as you note, by transforming "women's films" into substantive social critiques of the era. So many of his films made in the studio system just weren't that good. I think A Time to Love and a Time to Die is another exception, and maybe The Magnificent Obsession, though I don't hold that in the same esteem. It's still worth a look though, because I think it's his first American foray into in the "woman's film" genre.
|
|
|
|
Post by petrolino on Feb 14, 2021 2:15:20 GMT
Really appreciate your thoughtful comments, Bill. I'm big fan of this film, my favorite of all Sirk films, after Imitation of Life, Written on the Wind, and The Tarnished Angels. Its themes of loss, loneliness, and the healing power of nature really resonate with me. I love that Sirk became an iconic director, as you note, by transforming "women's films" into substantive social critiques of the era. So many of his films made in the studio system just weren't that good. I think A Time to Love and a Time to Die is another exception, and maybe The Magnificent Obsession, though I don't hold that in the same esteem. It's still worth a look though, because I think it's his first American foray into in the "woman's film" genre.
I think he had a magnificent run in the early to mid-1950s (specifically, from 1952 - 1956). Those works I can immerse myself in for days on end, and they linger in my mind for a long time afterwards. I share Todd Haynes' obsession with those pictures.
|
|
|
|
Post by marshamae on Feb 14, 2021 3:38:38 GMT
I too like this best of all the Sirk films. I like the bohemian party with the great mix of people , each conservative enough in their own culture, but bohemian in that they reach out to others. Then there’s Rock Hudson with his goofy charm, his soft baritone and his mock tango. He just lets himself loose in a way I do not recall in his other films. My favorite thing is Gloria Talbots’s performance. She perfectly portrays a you g college intellectual who believes what she is learning but finds that her feelings don’t follow her head. Her scene when she breaks down , after having defended her mother is practically raw, the last thing you would look for in a DOUGLAS Sirk i film. The brother was simply jealous but Gloria was really torn by conflicting emotions, devotion to her principles, assurance that her mother’s interest in Ron dated from well after her father’s death, her embarrassment at the idea of a much younger step father, and frustration over her inability to control these feelings.
The best thing is the way the kids simply dropped their objections and went on with their lives after she did what they wanted. This was bound to happen any way. JANE did not like her snobby friends, and did not get any support or satisfaction from their relationships. They left her alone even when she complied with their rules. Even Agnes Moorhead left her stranded, not coming to lunch , not being available. Aside from the sexual tension she was plainly and simply lonely, and their answer was for her to shut up and watch tv. Most of her discomfort with the idea of Ron as her partner disappeared when she quit trying to bring him into her life. Among her friends Ron was prickly,standoffish and simply refused to pretend he did not feel their snide disdain. When she was with his friends there was no discomfort. By trying to hold on to her old life with her dead husband she was not allowing her new relationship to take shape.
Télé I had a little experience with this. When mom died my father was in his 80’s but of perfectly sound mind. There was a very nice widow in her 70’s who began spending a lot of time with him, and whom he enjoyed. My sister was a little uncomfortable. I felt that after long difficult years of caregiving during which he was completely loyal to mom and her needs, he deserved some pleasure if he chose it. The lady would not have moved into our territory financially or any other way. I can imagine though that when we were younger, this situation could have been more challenging.
|
|