Based on the novel by Robert Wilder, Written on the Wind is the story of a woman who marries into an oil family as she would fall for her husband’s best friend. Directed by Douglas Sirk and screenplay by George Zuckerman, the film is an exploration of a woman who becomes part of a very dysfunctional and decadent family as she tries to make sense of the family she‘s married to while dealing with her feelings for husband‘s best friend. Starring Rock Hudson, Lauren Bacall, Robert Stack, and Dorothy Malone. Written on the Wind is a sensational yet wild film from Douglas Sirk.
Based on a real life incident involving the tobacco heir Zachary Smith Reynolds and torch singer Libby Holman, the film is an exploration into the chaotic world of a Texan oil family whose adult children are spoiled and troubled as they besmirch the reputation of the family as an heir’s wife and his best friend are caught in the middle. Much of which play into an heir trying to find happiness in his life as he meets an executive secretary in New York City as he woos her into marrying him. Though it seems to be a major change and a step into maturity for Kyle Hadley (Robert Stack) as he would introduce his new wife Lucy Moore (Lauren Bacall) to his father Jasper (Robert Keith). Trouble would brew due to the presence of Kyle’s younger sister Marylee (Dorothy Malone) who has gained a reputation for being a nymphomaniac as she also wants longtime childhood friend Mitch Wayne (Rock Hudson) who secretly has feelings for Lucy.
George Zuckerman’s screenplay doesn’t just explore the desires of what Kyle and Marylee Hadley want in their very lavish but often empty lives. The script also explores Lucy and Mitch being in the middle of this chaotic world where Lucy was reluctant to be wooed by Kyle yet finds him fascinating as he was very honest about his alcoholism and such. While Mitch would watch Kyle be with Lucy as he would suck it up and accept it, he becomes overwhelmed by Kyle and Marylee as he wants to leave the entire world of the Hadleys though he still has some loyalty to Japser. While he knows about Kyle’s alcoholism and does pity him, Lucy has no clue on how severe it is as she and Kyle try to start a family only for things to not go as quickly as Kyle wanted. Adding to Kyle’s already fragile state is Marylee whose desire to want Mitch would have her be manipulative to Kyle over the idea that Mitch and Lucy are having an affair which isn’t true. It would add to the heightened sense of drama that would play out as it would be very sensational but also lurid considering the kind of behavior that Marylee has.
Douglas Sirk’s direction is very stylish as well as being a bit over-the-top of times since it does play into his sensibilities on melodrama. While he keeps much of it restrained and somber early on though the film begins with Kyle driving very fast to his home as a gunshot is then heard. It then flashes back to something less dramatic when Kyle meets Lucy for the first time where he’s about to have lunch with Mitch as it starts off as this very straightforward romance with some very lovely compositions in its use of medium shots and close-ups along with a few low angle shots. The film becomes more stylized in its compositions once the film is set in Texas where Sirk adds something that is very dark once Marylee comes into the picture as she is this firecracker that likes to push buttons. While she may have some air of innocence over what she wants to have with Mitch, there is that layer of darkness about her that does drive the film. Especially where it would have this soaring and sensational idea of drama where it is very strange at times but also offbeat considering how over-the-top it can be. Overall, Sirk crafts a very mesmerizing yet visceral film about two people caught up in the world of a very dysfunctional family.
Cinematographer Russell Metty does phenomenal work with the film‘s very rich and colorful Technicolor-based cinematography with its stylish approach to lighting for some of its nighttime interior scenes as well as the way some of the locations in Texas plus the old river that Kyle, Mitch, and Marylee used to play at. Editor Russell J. Schoengarth does excellent work with the editing as it‘s straightforward in terms of its cutting strategies while playing to the film‘s unique rhythm for its melodramatic moments. Art directors Alexander Golitzen and Robert Clatworthy, with set decorators Russell A. Gausman and Julia Heron, do fantastic work with the design of Hadley mansion as well as the bar that Kyle likes to go as well as the posh hotel suites in Miami where Kyle hoped to woo Lucy at.
Costume designer Bill Thomas does amazing work with the design of the gowns that Marylee and Lucy wears as the former is very lavish and provocative while the latter is more classy as it both plays to their personalities. The sound work of Leslie I. Carey and Robert Pritchard is terrific for the way the Hadleys‘ cars sound when they‘re speeding to the atmosphere of the parties they old. The film’s music by Frank Skinner is brilliant for its soaring and lush orchestral-based music as it plays to the melodrama while there‘s some jazz-based themes that play into the world of Marylee while music supervisor Joseph Gershenson brings in some jazz-based pieces into the music soundtrack plus a ballad written by Victor Young and Sammy Cahn that opens the film.
The film’s superb cast includes some notable small roles from Robert J. Wilkes as the bartender at the bar that Kyle likes to drink at, Harry Shannon as Mitch’s father, John Larch as one of Marylee’s lovers, Roy Glenn and Maidie Norman as the house servants of the Hadley home, and Edward Platt as the longtime family doctor who examines Lucy as he becomes concerned if Kyle is the real problem. Robert Keith is excellent as Marylee and Kyle’s father Jasper as an oil man who treats Mitch like a son as he watches the behavior of his children with great despair as he questions about his failings as a father. Dorothy Malone is amazing as the very lurid and slimy Marylee Hadley as this nymphomaniac who likes to cause trouble while wanting to pursue Mitch in every way she can.
Robert Stack is brilliant as the troubled Kyle Hadley as a playboy who wants to have the good things in life when he meets Lucy only to succumb to his own insecurities and alcoholism as he loses sight of everything as well as his friendship to Mitch. Lauren Bacall is incredible as Lucy Moore as this woman who is wooed by Kyle as she is baffled yet charmed by his personality only to deal with his alcoholism and insecurities as she wonders if she made the right decision as she starts to have feelings for Mitch. Finally, there’s Rock Hudson in a glorious performance as Mitch Wayne as this simple yet kind man who devotes his loyalty to Jasper Hadley while trying to deal with Kyle’s alcoholism as well as his own feelings for Lucy as it’s a role that has Hudson be tough but also be grounded as someone who had seen a lot and knows what is important as it’s one of Hudson’s finest performances.
Written on the Wind is a spectacular film from Douglas Sirk that is highlighted by the performances of Rock Hudson, Lauren Bacall, Robert Stack, and Dorothy Malone. Along with the beautiful cinematography of Russell Metty and Frank Skinner’s lush score, it’s a film that is quite touching but also very intense in terms of its melodrama while not being afraid of being dark and be critical about rich American families. In the end, Written on the Wind is a remarkable film from Douglas Sirk.
Douglas Sirk Films: (t Was een April) - (The Court Concert) - (To New Shores) - (La Habanera) - (Boefje) - (Hitler’s Madman) - (Summer Storm) - (A Scandal in Paris) - (Lured) - (Sleep My Love) - Shockproof - (Thunder on the Hill) - (No Room for the Groom) - (Has Anybody Seen My Gal?) - (Meet Me at the Fair) - (Take Me to Town) - (All I Desire) - (Taza, Son of Cochise) - Magnificent Obsession (1954 film) - (Sign of the Pagan) - (Captain Lightfoot) - All That Heaven Allows - There's Always Tomorrow (1956 film) - (Never Say Goodbye) - (Battle Hymn) - (Interlude) - (The Tarnished Angels) - (A Time to Love and A Time to Die) - Imitation of Life
© thevoid99 2014
Based on the novel by Ursula Parrott, There’s Always Tomorrow is the story of a toy manufacturer who falls in love a former employee as he feels unloved by his wife and children. Directed by Douglas Sirk and screenplay by Bernard C. Schoenfeld, the film is an exploration into a married man’s decision to leave his family and embark into an affair with someone who cares about him. Starring Fred MacMurray, Barbara Stanwyck, and Joan Bennett. There’s Always Tomorrow is an engrossing yet touching film from Douglas Sirk.
The film plays into the life of a toy manufacturer who deals with the neglect of his family where he meets an old employee as he spends time with her and starts to fall in love unaware that his teenage son believes that an affair is happening. It’s a film that doesn’t require much of plot but rather an exploration into a family man who wants to regain some joy in his life as he feels like whatever plans he has with his wife is pushed aside for their youngest daughter. The film’s screenplay showcases the sense of frustration and ungratefulness that Clifford Groves (Fred MacMurray) endures from his family yet he would find some comfort in his old flame in Norma (Barbara Stanwyck) who had reinvented herself as a successful fashion designer. All Norma wants is to see how well Clifford has done and meet his family only to gain the disdain of his son Vinnie (William Reynolds) and teenage daughter Ellen (Gigi Perreau) who think the affair is happening though Vinnie’s girlfriend Ann (Pat Crowley) thinks that nothing is happening.
Douglas Sirk’s direction is quite simple yet contains some mesmerizing images and compositions into the way Sirk would frame some of the drama. Much of it involves some medium shots, a few wide shots, and some close-ups where Sirk plays into Clifford’s own sense of feeling unappreciated for what he’s done as his family seem to do other things. Sirk’s framing is very tight as he showcases the loneliness that surrounds Clifford while the scenes involving Clifford’s time with Norma are much livelier as the compositions are much looser though the scene where Norma eats with Clifford and her family is very tense. Especially as the drama starts to intensify in the third act when Vinnie and Ellen become very suspicious to the point that they would confront Norma.
Yet, it’s a very poignant scene where it is about not just Norma but Vinnie and Ellen in how they treat their father. What is more startling about the film other than its subject matter of adultery and the neglect of a family is how it ends where it’s very ambiguous which is pretty unusual for a melodrama made in the 1950s. Overall, Sirk crafts a very compelling story about a family man dealing with being neglected as he falls in love with an old flame.
Cinematographer Russell Metty does brilliant work with the film‘s black-and-white photography to convey the melancholic mood that surrounds Clifford while showcasing some unique lighting schemes to display the happiness he conveys when he‘s with Norma. Editor William Morgan does nice work with the editing as it‘s pretty straightforward with its seamless approach to rhythmic cuts to play into the melodrama as the editing also includes some dissolves and fade-outs. Production designer Alexander Golitzen and Eric Orbom, with set decorator Russell A. Gausman and Julia Heron, do amazing work with the look of the home Clifford lives with his family as well as the holiday resort he and Norma were at as they rekindle their friendship.
Costume designer Jay A. Morley Jr. does fantastic work with the design of the gowns from the dresses that Norma wears and creates to the more simpler dresses that Marion, Ellen, and Ann wears. The sound work of Leslie I. Carey and Joe Lapis is terrific for some of the scenes such as Clifford and Norma dancing to an old song as well as the sound effects of a toy robot that Clifford hopes to sell. The film’s music by Heinz Roemheld and Herman Stein is superb in its soaring yet somber orchestral score to play into the film‘s melodrama while music supervisor Joseph Gershenson brings in a soundtrack with some classical music and a standard that Clifford and Norma loved.
The film’s excellent cast features some notable small roles from Jane Darwell as the family cook Mrs. Rogers, Race Gentry as Vinnie’s friend Bob who also saw what Vinnie saw about his dad, Myrna Hansen as Bob’s girlfriend Ruth, and Judy Nugent as Clifford’s young daughter Frankie who is always calling on her mother unaware of her actions in causing her mother to neglect her husband. Pat Crowley is terrific as Vinnie’s girlfriend Ann who is troubled by Vinnie’s reaction to what he might’ve seen as she thinks that Norma isn’t a bad person while calling out on Vinnie’s immaturity. Gigi Perreau is wonderful as Clifford and Marion’s teenage daughter Ellen who is confused by the idea that her father is having an affair as she becomes lost in her confusion. William Reynolds is superb as Clifford and Marion’s son Vinnie as a late-teen who might’ve seen or heard as he becomes angry about his father’s supposed affair with Norma only to act in a very immature way.
Joan Bennett is brilliant as Clifford’s wife Marion as this woman who finds herself becoming busy with her youngest daughter as well as other duties as she unknowingly neglects her husband. Barbara Stanwyck is phenomenal as Norma as this old flame of Clifford who has reinvented herself as a successful fashion designer who wants to see what Clifford is up to as she also realizes she’s still in love with him while dealing with the realities of what their affair might cause. Finally, there’s Fred MacMurray in a marvelous performance as Clifford Grove as this very kind, loving man who feels unappreciated by his family for what he’s given them as he finds comfort in Norma where he tries to wrestle with his need to be happy and his devotion to his family.
There’s Always Tomorrow is a remarkable film from Douglas Sirk that is highlighted by the performances of Barbara Stanwyck and Fred MacMurray. Not only is this an intriguing film about adultery but also what would drive a man to risk his own marriage and family life as he becomes neglected by the people he loves. In the end, There’s Always Tomorrow is a splendidly rich film from Douglas Sirk.
Douglas Sirk Films: (t Was een April) - (The Court Concert) - (To New Shores) - (La Habanera) - (Boefje) - (Hitler’s Madman) - (Summer Storm) - (A Scandal in Paris) - (Lured) - (Sleep My Love) - Shockproof - (Thunder on the Hill) - (No Room for the Groom) - (Has Anybody Seen My Gal?) - (Meet Me at the Fair) - (Take Me to Town) - (All I Desire) - (Taza, Son of Cochise) - Magnificent Obsession - (Sign of the Pagan) - (Captain Lightfoot) - All That Heaven Allows - (Never Say Goodbye) - Written on the Wind - (Battle Hymn) - (Interlude) - (The Tarnished Angels) - (A Time to Love and A Time to Die) - Imitation of Life (1959 film)
© thevoid99 2014
Based on the novel by Fannie Hurst, Imitation of Life is the story of two different mothers from different races who come together to deal with the rebellious nature of their respective daughters. Directed by Douglas Sirk and screenplay by Eleanore Griffin and Allan Scott, the film is a modernized update of the story that had previously been told in a 1934 version as it deals with the ideas of race, genders, class, and other social changes all revolving around a widowed actress and her maid who share their own issues with their daughters. Starring Lana Turner, John Gavin, Sandra Dee, Dan O’Herlihy, Susan Kohner, Robert Alda, and Juanita Moore. Imitation of Life is a gloriously rich and sensational film from Douglas Sirk.
The film revolves around two women who meet by chance as they both raise their respective daughters during an actress’ rise to stardom and fortune. While she would gain the loyalty and advice of her maid, Lora Meredith (Lana Turner) would also contend with compromises about her career and eventually compromise in her own life as a mother to her daughter Susie (Sandra Dee) whom she would unfortunately neglect as Susie would look to the maid Annie (Juanita Moore) as a maternal figure while falling in love with longtime family friend Steve Archer (John Gavin). Adding to the drama is Annie’s own tumultuous relationship with her daughter Sarah Jane (Susan Kohner) who is born white due to having a white father she never met as she deals with having a black mother as she wants to be accepted as white. All of which plays into Lora and Annie coming to terms with not just their own failings as mothers but also what they tried to do for their daughters.
The film’s screenplay has a unique structure where it plays into Lora’s rise and struggles to make it as an actress in the first act. Upon that first scene where she meets Annie when trying to find Susie (Terry Burnham) who was playing with Sarah Jane (Karin Dicker). It’s also on that day where she meets Steve Archer as Lora would invite Annie and Sarah Jane to live with her and Susie since Lora needed someone to help her as she tries to make it as an actress while Annie needed a place to live with her daughter. While Steve would become a friend to the four women, he is uncomfortable with Lora’s own ambitions to succeed though she would have to contend with people like agent Alan Loomis (Robert Alda) who want her to cheapen herself and later on, playwright David Edwards (Dan O’Herlihy) who would make her a star but wants her to continue to star in his comedies that Lora would get tired of in the film’s second act.
It is around that time where Steve suddenly returns to Lora’s life as well as the life of Annie and their daughters which suddenly becomes complicated. Though Susie would enjoy all of the perks of having it all, she feels neglected by her mother’s busy schedule as she finds comfort in Annie and Steve. Lora would eventually realize the errors of her actions as she tried to do the best she can while she would also watch Annie’s relationship with Sarah Jane start to fall apart where the latter feels ashamed in having a black mother in the belief that it would not give her things that white people have including Susie whom she becomes envious of. For Annie, all she wanted from Sarah Jane is acceptance and to have Sarah Jane know that she‘ll always be there no matter what.
Douglas Sirk’s direction is truly mesmerizing from the way he opens the film with its very crowded yet lively scenes in the beach to the intimacy in the apartment where Lora lived as she would share it with Annie and their daughters. Much of it has this heightened sense of drama since it plays to Sirk’s idea of melodrama but he also had something to say in terms of race relations and how some can be filled with shame for having a certain skin color. At the same time, Sirk takes shots into the idea of ambition where Lora’s rise to stardom would come at a heavy price as she would neglect Susie in favor of her career as it would be something that Lora would deal with as she becomes compromised in her career aspirations.
Sirk’s direction is filled with dazzling imagery and gorgeous compositions including some wide shots of the posh house the four principle characters live in as there’s some unique shots where one character is on the top floor, another is in the stairs, and another is on the first floor through this low-angle shot. There’s also these lavish scenes in some of the parties that Lora has where Lora is the center of attention but the driving force is Annie who is comfortable behind the scenes as she is treated with respect by some of Lora’s guests. It all plays into the world that Sirk has created but one that would drive a schism into Lora and Annie’s own relationship with their daughters. Especially as the film’s ending plays into what is gained and lost in this journey the four women have been in as Sirk isn’t afraid to be melodramatic. Notably as it makes sense into the decisions that Lora has make and the price she paid while clinging on to the people that mattered to her. Overall, Sirk crafts a very enchanting yet evocative film about mothers and their relationships with their daughters.
Cinematographer Russell Metty does tremendous work with the film’s very rich and colorful Technicolor-based photography to capture the beauty of some of the film’s locations as well as the textures in some of the colors along with some lighting schemes that adds to the film’s beauty Editor Milton Carruth does excellent work with the editing with its seamless approach to rhythmic cuts to play into the drama as well as its use of fade-outs and dissolves for its transitions plus an inventive montage of Lora‘s rising success. Art directors Alexander Golitzen and Richard H. Reidel, with set decorators Russell A. Gausman and Julia Heron, do amazing work with the set designs from the cramped apartment Lora, Annie, and their daughters live during the first act to the more spacious, posh home they would live in throughout the film.
Costume designer Bill Thomas does fantastic work with the colorful and stylish dresses that Susie and Sarah Jane would wear to express their personalities while the gowns worn by Lora are designed with great style by Jean Louis. The sound work of Leslie I. Carey and Joe Lapis is terrific for some of the intimacy that occurs in the parties as well as some of the locations including the places where Sarah Jane would work. The film’s music by Frank Skinner is brilliant for its lush and somber orchestral score that plays into the melodrama that includes the title song written by Henry Mancini and Sammy Fain as well as a gospel performance from the legendary Mahalia Jackson who appears in the film.
The film’s superb ensemble cast includes some notable small performances from Terry Burnham as the young Susie, Karin Dicker as the young Sarah Jane, and Troy Donahue in a brief role as Sarah Jane’s secret boyfriend. Robert Alda is terrific as Lora’s agent Loomis who is very slimy until he realizes that she won’t compromise her ideas as he makes her a star. Dan O’Herlihy is excellent as the playwright David Edwards who realizes what kind of talent Lora has where he has her in all of his plays where success goes into his head. Susan Kohner is amazing as the confused Sarah Jane as this woman who is half-white and half-black as she tries to be accepted into the world of white society only to lose sight of who she really is. Sandra Dee is wonderful as Susie as a young woman who falls for Steve while deals with her mother’s absence as she tries to make sense of what her mother does and what she wants in her own life.
John Gavin is brilliant as Steve Archer as an aspiring photographer who has a hard time dealing with Lora’s ambitions until he returns to her life where their friendship is suddenly renewed as he also deals with some of the issues in the family. Juanita Moore is phenomenal as Annie as this no-nonsense and caring maid who is devoted to Lora while also being her closest advisor as she tries to deal with Sarah Jane’s rebellion as it’s a role that is very complex that goes beyond the expectations of a character that could’ve been a stereotype. Finally, there’s Lana Turner in a dazzling performance as Lora Meredith as this ambitious actress who is driven to become a success as she goes through her faults as a mother in not being there enough for Susie as well as her friendship with Annie whom she cares for very dearly as it’s Turner in one of her defining film roles.
Imitation of Life is an incredible film from Douglas Sirk that is highlighted by the performances of Lana Turner, Juanita Moore, and John Gavin. It’s a film that is melodrama at its finest in terms of its visual language, towering story, and lavish performances that add to the film’s soaring yet slightly over-the-top tone. It’s also a film that wasn’t afraid to be a product of its time with something to say yet manages to be very relevant more than fifty years since its release. In the end, Imitation of Life is a splendidly rich and exhilarating film from Douglas Sirk.
Douglas Sirk Films: (t Was een April) - (The Court Concert) - (To New Shores) - (La Habanera) - (Boefje) - (Hitler’s Madman) - (Summer Storm) - (A Scandal in Paris) - (Lured) - (Sleep My Love) - Shockproof - (Thunder on the Hill) - (No Room for the Groom) - (Has Anybody Seen My Gal?) - (Meet Me at the Fair) - (Take Me to Town) - (All I Desire) - (Taza, Son of Cochise) - Magnificent Obsession (1954 film) - (Sign of the Pagan) - (Captain Lightfoot) - All That Heaven Allows - There’s Always Tomorrow (1956 film) - (Never Say Goodbye) - Written on the Wind - (Battle Hymn) - (Interlude) - (The Tarnished Angels) - (A Time to Love and A Time to Die)
© thevoid99 2014
Based on the book by Lloyd C. Douglas, Magnificent Obsession is the story of a playboy who pretends to be a doctor to help a widow he had recently hurt. Directed by Douglas Sirk and screenplay by Robert Blees and Wells Root from screen story by Root, Sarah Y. Mason, Victor Heerman, and Finley Peter Dunne, the film is a melodramatic take on an unlikely relationship between a spoiled playboy and a troubled widow. Starring Rock Hudson, Jane Wyman, Barbara Rush, Agnes Moorehead, and Otto Kruger. Magnificent Obsession is an extraordinarily rich film from Douglas Sirk.
The film is a simple story about redemption in the form of a playboy whose boating accident led to the death of a renowned doctor and later cause trouble for the doctor’s widow. At the same time, it’s about this rich playboy wanting to make a change for himself and atone for all of the sins he created. Especially to this woman who lost so much as she becomes lost following her husband’s death. The film’s screenplay does show what kind of man Bob Merrick (Rock Hudson) is at the beginning as he is this careless playboy who likes to ride fast cars, drive fast boats, and do all sorts of things without a care in the world as he would use money to fix things. When he is injured in an accident and was unconscious, he was revived by a resuscitating machine that belonged to a doctor as he suddenly died. When Merrick learns about what happened and the disdain he had been treated by the people at the hospital, he becomes haunted by his actions as he tries to apologize to the widow Helen Phillips (Jane Wyman) only to cause more trouble.
The first act is about Merrick forcing to see himself for what he really is and the things he had squandered as he was once a gifted medical student who gave up his chance to become a doctor in favor of throwing away the inheritance he gained from his father. The second act is about Merrick trying to atone for his sins by pretending to be another man to the already blind Helen in the hopes that he can help her and not suffer as much. Still, he gains the suspicions of her stepdaughter Jane (Barbara Rush) and longtime nurse Nancy (Agnes Moorehead). Yet, Merrick is encouraged by Helen’s longtime friend Randolph (Otto Kruger) who would guide Merrick into the ideas of philanthropy that Helen’s husband was all about. Merrick, under an alias, would do whatever to help Helen and gain the trust of those he hurt yet things become complicated as it becomes clear that Merrick still needed to find his own path in life as it would eventually play into his journey for redemption.
Douglas Sirk’s direction is truly intoxicating in the way he creates this film that explores the world of a man obsess with trying to right the wrongs that he created but also present it with a high degree of style. Much of it involves some unique compositions in the medium shots and close-ups along with a few wide shots. Sirk isn’t afraid for creating this heightened sense of drama since there is a lot that goes on where many who are close to Helen and her husband have a huge distrust towards Merrick since he already has a notorious reputation. Sirk takes his time for Merrick and Phillips to develop into something much more as does the supporting characters as it would play into the drama. Particularly as Sirk would add more stakes to the drama for its third act once it becomes clear that, despite Merrick’s efforts to be there for Phillips, it wouldn’t be enough as she becomes burdened by her blindness. Sirk however, would find ways to create something that does play to the aesthetics of a melodrama but not be afraid to take a few risks and be unafraid to delve into schmaltz. Overall, Sirk crafts a very genuine and exhilarating film about a man trying to find redemption in helping a widow.
Cinematographer Russell Metty does amazing work with the film‘s rich and colorful Technicolor-based cinematography from the beauty of the locations in Lake Tahoe to some of the array of lighting schemes and sceneries created in some of its interior and nighttime exterior scenes. Editor Milton Carruth does nice work with the editing with a few aspects of style in its dissolves and fade-outs while maintaining something much straightforward through its transitions and rhythmic cuts. Art directors Bernard Herzbrun and Emrich Nicholson, with set decorators Russell A. Gausman and Ruby R. Levitt, do fantastic work with the set pieces from the look of the Swiss hotels and sets created during Helen‘s trip to the country for possible eye surgery to the look of the homes that the characters live in.
Costume designers Bill Thomas does excellent work with the design of the gowns and dresses many of the female characters wear as it plays to the film‘s evocative look. The sound work of Leslie I. Carey and Corson Jowett is terrific for the way the boat engine sounded early in the film to some of the more sparse moments when Helen is alone in her room. The film’s music by Frank Skinner is truly phenomenal for its lush and evocative orchestral score that swells with its soaring string arrangements to play into the melodrama as it also includes some choir arrangements that just adds more punch to the tone of the film.
The film’s marvelous cast includes some notable small roles from Richard H. Cutting as the Phillips’ associate physician Dr. Dodge, Sara Shane as Merrick’s girlfriend in the beginning of the film, Paul Cavanaugh as Merrick’s former mentor Dr. Giraud, and Gregg Palmer as Joyce’s fiance Tom who helps handle the Phillips family business. Barbara Rush is terrific as Helen’s stepdaughter Joyce who is aware of Merrick’s reputation and is suspicious of his helpful intentions only to realize how much he cares for Helen and wants to do right. Agnes Moorehead is wonderful as the Phillips longtime family nurse who is also suspicious of Merrick’s intentions while keeping an eye on Helen as well as being the close friend that she has. Otto Kruger is excellent as Randolf as this painter who is a longtime friend of the Phillips family who realizes what kind of man Merrick really is as he helps guide him into finding redemption.
Finally, there’s the duo of Jane Wyman and Rock Hudson is truly magnificent performances in their respective roles as Helen Phillips and Bob Merrick. Wyman exudes a sense of beauty and anguish to her role as a woman that just lost her husband as she tries to make sense of the tragedy that she endures while clinging to some idea of hope. Hudson brings this swagger to his role early in the film only to be grounded with a sense of humility and sensitivity that would allow Merrick to find redemption. Wyman and Hudson radiate with chemistry from the way Wyman tries to dismiss him to the growing sense of warmth they would have for each other.
Magnificent Obsession is a phenomenal film from Douglas Sirk that is highlighted by the splendid performances of Rock Hudson and Jane Wyman. It’s a film that explores not just a man trying to redeem himself in helping a widow but also a film where an unlikely love story emerges despite all of the complications that emerges. In the end, Magnificent Obsession is a sensational film from Douglas Sirk.
Douglas Sirk Films: (t Was een April) - (The Court Concert) - (To New Shores) - (La Habanera) - (Boefje) - (Hitler’s Madman) - (Summer Storm) - (A Scandal in Paris) - (Lured) - (Sleep My Love) - Shockproof - (Thunder on the Hill) - (No Room for the Groom) - (Has Anybody Seen My Gal?) - (Meet Me at the Fair) - (Take Me to Town) - (All I Desire) - (Taza, Son of Cochise) - (Sign of the Pagan) - (Captain Lightfoot) - All That Heaven Allows - There’s Always Tomorrow (1956 film) - (Never Say Goodbye) - Written on the Wind - (Battle Hymn) - (Interlude) - (The Tarnished Angels) - (A Time to Love and A Time to Die) - Imitation of Life (1959 film)
© thevoid99 2014
Directed by Douglas Sirk and written by Samuel Fuller and Helen Deutsch from a story by Fuller, Shockproof is the story of a parole officer who falls in love with his parolee as he tries to help with some issues that put her in jail as she would do the same in his own issues. The film is an exploration into a relationship between two people that is considered taboo as they would do whatever it takes to help each other. Starring Cornel Wilde and Patricia Knight. Shockproof is an engaging and stylish suspense film from Douglas Sirk.
The film explores this unlikely love story between a parole officer and a parolee where the latter is being pursued by gambler forcing the straight-laced parole officer to break some of his own rules. It’s a film that is a mesh of different styles ranging from suspense to melodrama as the former features much of the grimy, pulp style of its co-writer Samuel Fuller while the latter plays into the sensibilities of its director Douglas Sirk. Though the result is an uneven affair with a more conventional ending that doesn’t feature neither sensibilities of Fuller and Sirk. It is still an interesting story where the parole officer Griff Marat (Cornel Wilde) tries to make sure that Jenny Marsh (Patricia Knight) doesn’t go back to jail as she would try to seduce him for her former boyfriend in the renowned gambler Harry Wesson (John Baragrey). Instead, things don’t got as planned where Marsh starts to fall for Marat and realizes all of the good things he’s done though Marat would feel like he’s being played for a fool until he does things that goes against everything he stands for.
Sirk’s direction is quite simple in terms of how he frames his characters in close-ups and in medium shots. Notably as Sirk would infuse some noir-style settings to convey a mood to showcase Marsh’s own internal conflict in her feelings for Marat as well as her loyalty to Wesson. Some of which involved some stylish shots as well as thrilling moments where Sirk infuses much of Fuller’s language into some suspenseful moments. Especially as the stakes become much higher in its third act where Marsh and Marat go on the run from the authorities as Sirk would put some drama over the struggle they go through as they realize that might have nowhere else to go. Yet, it ends on a conventional note which does indicate that there was some studio interference into what they wanted rather what Sirk wanted. Despite the flaws in the film, Sirk does manage to create a very exciting and compelling film about a parole officer who falls in love with a parolee.
Cinematographer Charles Lawton Jr. does excellent work with the film’s black-and-white photography where much of it is straightforward for its daytime exteriors while going for more stylish lights for its nighttime interior/exterior scenes. Editor Gene Havlick does nice work with the editing with its use of dissolves and some straightforward cuts to play with its drama and suspense. Art director Carl Anderson and set decorator Louis Dage do brilliant work with the set pieces from the home that Marat lives in with his family as well as the office where he works. Costume designer Jean Louis does fantastic work with the design of the dresses and gowns that Marsh wears. Sound engineer Lodge Cunningham does terrific work with some of the sound work such as the oil mill that Marat and Marsh would live near in the film‘s third act. The film’s music by George Duning is wonderful for its orchestral score as it is filled with soaring arrangements to play with its melodrama and suspense.
The film’s superb cast includes some notable small performances from Charles Bates as Marat’s kid-brother Tommy, Gilbert Barnett as Tommy’s friend Barry, Russell Collins as one of Marat’s parolees whom he’s friends with, Howard St. John as Marat’s boss, and Esther Minciotti as Marat’s blind mother whom Marsh would become friends with. John Baragrey is excellent as Marsh’s former boyfriend Harry Wesson who is eager to get Marsh back into his world of crime as well as ruin Marat only to realize that Marat is a hard nut to crack. Patricia Knight is brilliant as Jenny Marsh as this woman who is released for a five-year prison sentence for murder as she is torn between a life of crime and a more simpler life that Marat surrounds himself with where Knight adds that anguish into her performance. Finally, there’s Cornel Wilde in an amazing performance as Griff Marat as this straight-laced parole officer who falls for Marsh as he tries desperately to help her while coming to terms with his actions and breaking away from his ideals.
Shockproof is a worthwhile film from Douglas Sirk that features some excellent performances from Cornel Wilde and Patricia Knight as well some of the stylish dialogue of Samuel Fuller. Though it’s a very uneven film in tone as well as a pretty unbelievable ending that is against the traits of both Sirk and Fuller. It is still an enjoyable film that showcases an unlikely collaboration between two of cinema’s great figures. In the end, Shockproof is a pretty good film from Douglas Sirk.
Douglas Sirk Films: (t Was een April) - (The Court Concert) - (To New Shores) - (La Habanera) - (Boefje) - (Hitler’s Madman) - (Summer Storm) - (A Scandal in Paris) - (Lured) - (Sleep My Love) - (Thunder on the Hill) - (No Room for the Groom) - (Has Anybody Seen My Gal?) - (Meet Me at the Fair) - (Take Me to Town) - (All I Desire) - (Taza, Son of Cochise) - Magnificent Obsession (1954 film) - (Sign of the Pagan) - (Captain Lightfoot) - All That Heaven Allows - There’s Always Tomorrow (1956 film) - (Never Say Goodbye) - Written on the Wind - (Battle Hymn) - (Interlude) - (The Tarnished Angels) - (A Time to Love and A Time to Die) - Imitation of Life (1959 film)
© thevoid99 2014
Directed by Douglas Sirk and screenplay by Peg Fenwick from a story by Edna L. Lee and Harry Lee, All That Heaven Allows is the story of a widow who falls for a gardener as their love affair would cause trouble among her friends in their suburban society as well as her adult children. The film is an exploration into conformity and class structure as a woman finds joy in a simple gardener. Starring Jane Wyman, Rock Hudson, Agnes Moorehead, Conrad Nagel, and Virginia Grey. All That Heaven Allows is an intoxicatingly rich and exhilarating melodrama from Douglas Sirk.
The film is an exploration into a love affair between a widow and a gardener as the latter is 15 years younger than her as their relationship starts to raise questions among her friends in suburban society. It’s a film that plays into the world where this woman is being judged by friends from her social circle as well as her adult children for being in love with this very kind and eloquent gardener who has no interest in conforming into any kind of society. It’s all part of this unique melodrama that explores not just a world where this woman is trying to find happiness. It’s a film where the world that she lives in seems stuck into their idea of traditional values unaware that things are starting to change.
Peg Fenwick’s screenplay does great work in not just creating intricate themes about conformity, class, and ageism but set it in a world where values are prevalent in this New England suburb where there are rules and people know each other. Upon meeting this gardener named Ron Kirby (Rock Hudson), Cary Scott (Jane Wyman) is intrigued by what Kirby offers as he is a very different man that prefers to live a simple world where he patiently takes care of trees and plants in his home. At the same time, he surrounds himself with friends who have no need for materialistic things as they prefer something less complicated and not give in towards the pressure of society. Cary’s infatuation with Ron has gained her the ire of her adult-children who are upset that their mother is considering marrying a man younger than her. Cary’s friends are upset not just because of the fact that Ron is younger but also for the fact that he’s a simple gardener. It would create a lot of conflict in Cary over what she wants but also what people want from her.
Douglas Sirk’s direction is truly enchanting not just for the visuals that he creates but also in the ravishing compositions he portrays the two worlds that Cary and Ron live in. The world that Cary lives is quite beautiful as Sirk brings a lot of unique imagery to locations such as the streets and shops while there’s a sense of artificiality in the parties she goes to as they’re very lavish. In the world that Ron lives in, it’s much more quaint and livelier as the party Cary attends that is filled with Ron’s friends might be a bit crowded but there’s a lot of joy as people dance as opposed to the people in Cary’s world where they just drink and gossip. When Cary introduces Ron to her children and her friends, he does his best to present himself while wanting to be himself yet her children are aghast over how young he is while her friends are surprised by his behavior when Cary is being harassed by a party guest. The third act has Cary not only deal with her unhappiness but also what is happening for her children that would eventually prompt her to make her own decisions. Overall, Sirk crafts a very lush yet powerful drama about a widow who deals with the judgment of others over her new love life.
Cinematographer Russell Metty does magnificent work with the film‘s very rich and colorful cinematography with its gorgeous use of Technicolor from the exteriors with its use of blue for some its nighttime scenes to the way he lights the interiors as it‘s definitely one of the film‘s major technical achievements. Editor Frank Gross does excellent work with the editing in the use of matching dissolves as well as the use of fade-outs and other sort of seamless cuts as it helps play to the film‘s melodramatic tone. Art directors Alexander Golitzen and Eric Orbom, along with set decorators Russell A. Gausman and Julia Heron, do brilliant work with the set pieces from a few background sets for some of its exteriors outside of Ron‘s wheel mill home as well as the intricate attention to detail in the way Cary‘s house look as well as the other places she goes to.
The gown designs by Bill Thomas is fantastic for the look of the gowns that many of the women wear as it adds to the film‘s mesmerizing look. The sound work of Leslie I. Carey and Joe Lapis is terrific for some of the minimal sound effects as well as the way things sound on location. The film’s music by Frank Skinner is amazing for its very serene orchestral score that includes some very heavy themes to play into its melodrama while music supervisor Joseph Gershenson brings in a couple of classical pieces by Brahms and Listz as well as a traditional Christmas song to play into the drama of Cary longing for Ron.
The film’s superb cast includes some notable small roles from Donald Curtis as Howard who often harasses Cary into kissing him at parties, Merry Anders as Alida’s cousin Mary Ann whom Cary thinks is Ron’s girlfriend, Jacqueline De Wit as the very gossip socialite Mona, Nestor Paiva as a friend of Ron in Manuel, and Conrad Vagel in a terrific performance as Cary’s date Harvey who accompanies her to the film’s first party. Hayden Rorke is wonderful as Dr. Dan Hennessy who examines Cary late in the film as she comes to him over headaches while Charles Drake is excellent as Ron’s friend Mick who gave up a life of ambition for something more simpler. Virginia Grey is brilliant as Mick’s wife Alida who reveals to Cary a lot about Ron and his ideals as well as being key to Cary wanting to be with Ron in its third act.
William Reynolds and Gloria Talbott are amazing in their respective roles as Ned and Kay Scott as two of Cary’s adult children who oppose her union with Ron with Reynolds being the more outspoken Ned while Talbott is the more open but wary Kay. Agnes Moorehead is fantastic as Cary’s best friend Sara who questions what Cary is doing though she thinks that Ron is a nice guy but often worries about Cary’s social status. Finally, there’s Rock Hudson and Jane Wyman in truly outstanding performances in their respective roles as Ron Kirby and Cary Scott. Hudson exudes a sensitive masculinity into his role as a very kind-hearted man who represents the absolute individual that doesn’t care what people thinks as he loves Cary. Wyman brings a sense of grace into her role as the widow Cary who is reluctant to attend social parties as she seeks to find happiness while dealing with the judgment she receives from family and friends. Hudson and Wyman have great chemistry together in the way they deal with the judgment of other people and how they spend time together.
All That Heaven Allows is a phenomenal film form Douglas Sirk that features exemplarily rich performances from Rock Hudson and Jane Wyman. The film is truly one of the finest melodramas ever created as well as great introduction to anyone new to Sirk. Especially as it’s a film that has a lot of beauty and captivating themes that explores the need to fit in against the ideas of individuality. In the end, All That Heaven Allows is a tremendously ravishing film from Douglas Sirk.
Douglas Sirk Films: (t Was een April) - (The Court Concert) - (To New Shores) - (La Habanera) - (Boefje) - (Hitler’s Madman) - (Summer Storm) - (A Scandal in Paris) - (Lured) - (Sleep My Love) - Shockproof - (Thunder on the Hill) - (No Room for the Groom) - (Has Anybody Seen My Gal?) - (Meet Me at the Fair) - (Take Me to Town) - (All I Desire) - (Taza, Son of Cochise) - Magnificent Obsession (1954 film) - (Sign of the Pagan) - (Captain Lightfoot) - There’s Always Tomorrow (1956 film) - (Never Say Goodbye) - Written on the Wind - (Battle Hymn) - (Interlude) - (The Tarnished Angels) - (A Time to Love and A Time to Die) - Imitation of Life (1959 film)
© thevoid99 2014
