All That Heaven Allows is a darker, more cynical film than Douglas Sirk's previously more conventional and successful Magnificent Obsession. Because of that film's attraction, Sirk was reunited with the two leads, Rock Hudson and Jane Wyman. The result is a more potent story and much stronger social criticism. From the opening shot, in all its Technicolor glory, we see an overhead view of a small, self-contained American town, idyllic in its existence with all the right colors and characters in their proper place. However, look a little closer and you will see the glistening of the plastic leaves and matte paintings as backdrops. Sirk shows us the surface of a seemingly perfect society while slightly skewering it by also revealing its artificiality and decadent skeletal structure.
To continue this deconstruction of 1950s America, we see a newly made widow, Cary Scott, who is now resigned to living her life according to the pleasures and approval of her ungrateful children and her condescending circle of friends. On the surface, this appears to be nothing more than fodder lifted out of typical gossip magazines of the era, but Sirk with his wildly imaginative visual style gives us something more to chew on. It soon becomes clear, especially once she strikes up a romance with her muscular gardener (Rock Hudson), she is unable to truly break free from the bonds of social convention and have a true sense of understanding the world Ron gives to her.
Sirk won't even let Ron off the hook. As in Magnificent Obsession, none of the character are so wonderful and virtuous that we should completely enamor ourselves to them. He himself is rather forceful, unmovable in his intentions to wed Cary without any understanding of her situation. Simply put, they both have deeply embedded flaws to deal with, a most shocking and unfortunate conclusion Sirk flaunts in front of us.
If you are in the mood for a good old-fashioned melodrama, Douglas Sirk is certainly your most popular option and just might be the best. Unlike other films of its type and time like the enormously successful Peyton Place or A Summer Place, Sirk goes much deeper than anyone else. Often, his films require several viewings to get a true understanding of what he is saying about these people, this time and this place. One final note; the ending will seem to many modern audiences as simple contrivance by the studio to assure profits. However, whether or not it was what Sirk intended, looking closer may result in seeing exactly what he wants us to see: unbridled selfishness for various reasons by all types of people.
To continue this deconstruction of 1950s America, we see a newly made widow, Cary Scott, who is now resigned to living her life according to the pleasures and approval of her ungrateful children and her condescending circle of friends. On the surface, this appears to be nothing more than fodder lifted out of typical gossip magazines of the era, but Sirk with his wildly imaginative visual style gives us something more to chew on. It soon becomes clear, especially once she strikes up a romance with her muscular gardener (Rock Hudson), she is unable to truly break free from the bonds of social convention and have a true sense of understanding the world Ron gives to her.
Sirk won't even let Ron off the hook. As in Magnificent Obsession, none of the character are so wonderful and virtuous that we should completely enamor ourselves to them. He himself is rather forceful, unmovable in his intentions to wed Cary without any understanding of her situation. Simply put, they both have deeply embedded flaws to deal with, a most shocking and unfortunate conclusion Sirk flaunts in front of us.
If you are in the mood for a good old-fashioned melodrama, Douglas Sirk is certainly your most popular option and just might be the best. Unlike other films of its type and time like the enormously successful Peyton Place or A Summer Place, Sirk goes much deeper than anyone else. Often, his films require several viewings to get a true understanding of what he is saying about these people, this time and this place. One final note; the ending will seem to many modern audiences as simple contrivance by the studio to assure profits. However, whether or not it was what Sirk intended, looking closer may result in seeing exactly what he wants us to see: unbridled selfishness for various reasons by all types of people.