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
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
