All That Heaven Allows (1955)

Director:

Douglas Sirk

Writers:

Peg Fenwick (screenplay)
Edna L. Lee (story) ...

Release Date:

9 December 1955 (Denmark)

Genre:

Drama | Romance

Tagline:

How much does Heaven Allow a Woman in Love?

Plot:

An upper-class widow falls in love with a much younger, down-to-earth nurseryman, much to the disapproval of her children and criticism of her country club peers.

Plot Keywords:

Widow | Gossip | New England | Country Club | Tree

Awards:

1 win

Cast

Jane Wyman	...	Cary Scott
Rock Hudson	...	Ron Kirby
Agnes Moorehead	...	Sara Warren
Conrad Nagel	...	Harvey
Virginia Grey	...	Alida
Gloria Talbott	...	Kay
William Reynolds	...	Ned
Charles Drake	...	Mick Anderson
Hayden Rorke	...	Dr. Hennessy
Jacqueline deWit	...	Mona Plash (as Jacqueline de Wit)
Leigh Snowden	...	Jo-Ann
Donald Curtis	...	Howard Hoffer
Alex Gerry	...	George Warren
Nestor Paiva	...	Manuel
Forrest Lewis	...	Mr. Weeks

Runtime:

89 min

Country:

USA

Language:

English

Color:

Color (Technicolor)

Aspect Ratio:

2.00 : 1

Sound Mix:

Mono (Western Electric Recording)

Certification:

South Korea:12 | USA:Approved (MPAA rating: certificate #17469) | UK:U | Australia:PG | Finland:S | Sweden:Btl

Filming Locations:

Backlot, Universal Studios - 100 Universal City Plaza, Universal City, California, USA

Company:

Universal International Pictures (UI)

Trivia:

This film seems to borrow its title from the last line of the poem 'love and life' by Jhn Wilmot, Second Earl of Rochester: " All my past Life is mine no more, The flying Hours are gone: Like Transitory Dreams giv'n o'er, Whose Images are kept in store By Memory alone. The Time that is to come is not; How can it then be mine The present Moment's all my Lot; And that, as fast as it is got, Phillis, is only thine. Then talk not of Inconstancy, False Hearts, and broken Vows; If I, by Miracle, can be This live-long Minute true to thee, 'Tis all that Heav'n allows. "

Goofs:

Errors made by characters (possibly deliberate errors by the filmmakers): Carrie's son, Ned, mixes martinis for his mother and her date, Harvey. Carrie tells Harvey, "NEED mixed them especially for you" (not "Ned").

Quotes:

Kay Scott: Personally, I've never subscribed to that old Egyptian custom.
Cary Scott: What Egyptian custom?
Kay Scott: Of walling up the widow alive in the funeral chambers of her dead husband along with his other possessions. The theory being that she was a possession too. She was supposed to journey into dead with him. The community saw to it. Of course it doesn't happen anymore.
Cary Scott: Doesn't it?

Movie Connections:

Featured in Contract Kid - William Reynolds sur Douglas Sirk (2007) (V)

Soundtrack:

Joy to the World

You go, girl!

I'll simply align myself with the other commentators who are bowled over by this Sirkfest's vibrant colors, use of lush fake-Liszt and Rachmaninoff, and surprising willingness to attack materialistic '50s values (in this last instance, the film's hardly dated a bit). True, the central romance isn't always convincing -- what does Ron see in Carrie, anyway? -- and the film has to oversimplify its characters to make its points. Carrie's daughter, a social-working bobby-soxer who quotes Freud and wears unflattering glasses, is meant to be something of a joke (until she sheds some feminine tears and suddenly becomes sympathetic); while Carrie's older suitor, underplayed by Conrad Nagel, is looked on as less than a desirable man simply because he limits himself to one drink. (In common with many films from this period, an awful lot of liquor is consumed.) Too, there's an impossibly melodramatic third act, where the circumstances of Ron's accident are howlingly implausible. Nice, though, that the always-reliable Agnes Moorehead plays a socialite who's not as shallow as she first seems, and that Wyman gets to model some attractive '50s fashions. Also note the sumptuous midcentury interiors -- whether the happy couple ends up living in Wyman's suburban mansion or Hudson's renovated barn, I want to live in them both.