7.7/10
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95 user 87 critic

All That Heaven Allows (1955)

Not Rated | | Drama, Romance | 5 April 1956 (Italy)
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.

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Writers:

(screenplay), (story) | 1 more credit »
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Cast

Cast overview, first billed only:
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Harvey
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Alida Anderson
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Ned Scott
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Mick Anderson
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Dr. Dan Hennessy
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Mona Plash (as Jacqueline de Wit)
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Jo-Ann Grisby
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George Warren
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Manuel
Forrest Lewis ...
Mr. Weeks
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Storyline

Cary Scott is a widow with two grown children. She's been leading a quiet life since her husband died, socializing with a small circle of friends. Her children no longer live with her full-time but come home every weekend. She's not unhappy but also doesn't realize how bored she is. Her friend Sara Warren encourages he to get a television set to keep her company but she doesn't want that either. She develops a friendship with Ron Kirby who owns his own nursery and comes every spring and fall to trim her trees. Ron is much younger than she and their friendship soon turns to love. Her circle of friends are surprised that she is seeing such a younger man and she might be prepared to overlook that - Ron certainly doesn't care about the differences in their ages - but when her son and daughter vehemently object, she decides to sacrifice her own feelings for their happiness. Over time however, she realizes that her children will be spending less and less time with her as they pursue their ... Written by garykmcd

Plot Summary | Plot Synopsis

Taglines:

How much does Heaven Allow a Woman in Love?

Genres:

Drama | Romance

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

5 April 1956 (Italy)  »

Also Known As:

Tout ce que le ciel permet  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Color:

(Eastmancolor and Technicolor)

Aspect Ratio:

2.00 : 1
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Did You Know?

Trivia

The house Jane Wyman's character lives in (on Universal's "Colonial Street" backlot) was built on rented Universal property by Paramount Pictures for 1955's "Desperate Hours"; Universal left it standing after filming, altering its appearance for "All That Heaven Allows." Four years later, it was altered again, for use as the house of the Cleaver family in TV's "Leave it to Beaver," beginning with the show's move from CBS to ABC for the 1959 season. The house continued as the Cleaver house until the end of the series in 1962, but was known at Universal as the "Paramount House," not the "Cleaver House." See more »

Goofs

When Ned mixes a large batch of martinis, the liquid in the shaker is light brown, even though he makes a point of saying he used only two drops of vermouth, which would result in a clear-colored drink in a shaker that big. See more »

Quotes

Mick Anderson: She doesn't want to make up her own mind; no girl does. She wants you to make it up for her.
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Connections

Edited into Quand la peur dévore l'âme (2007) See more »

Soundtracks

Joy to the World
(uncredited)
Lyrics by Isaac Watts
Music by Lowell Mason
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User Reviews

You go, girl!
18 November 2005 | by (New York, NY) – See all my reviews

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.


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