The story of a young woman, Helen Banning, who travels to Munich in search of life experience and romance. While working for America House, she meets a famous symphony conductor, Tonio ... See full summary »
Wealthy Samuel Fulton is getting older and has no family of his own. He decides to leave his estate to the family of his first love, who turned down his marriage proposal years ago because ... See full summary »
On 24 October 1955, the hard-work geologist of the Hadley Oil Company Mitch Wayne meets the executive secretary Lucy Moore in the office of her boss Bill Ryan in New York and invites her to go to a conference with the alcoholic playboy and son of a tycoon Kyle Hadley. On the way of the meeting, he confesses that they had traveled from Houston to New York to satisfy the wish of the reckless Kyle, who is his best friend since their childhood, of eating a sandwich from club 21 and the meeting was just a pretext to Kyle's father Jasper Hadley. Mitch and Kyle immediately fall in love for Lucy, and Kyle unsuccessfully uses his money to impress Lucy; then he opens his heart and proposes Lucy. They get married and travel to Acapulco and the insecure Kyle stops drinking. Meanwhile, Kyle's sister Marylee is an easy woman and has a non-corresponded crush on Mitch that sees her as a sister. One year later, Kyle discovers that he has a problem and might be sterile and starts drinking again. The ... Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Shown today on A.M.C. (i.e., "Always Multitudes of Commercials"!)
Channel-surfing earlier today I was passing the A.M.C. site and there was "Written on the Wind" already underway. I'd seen it during its first-run theatrical release (and not since) and was mildly surprised to observe how vividly I recalled its unfolding.
I rarely submit to watching anything on A.M.C. these days because this once watchable venue has deteriorated into nothing more than a merciless marketplace. Strings of commercials endlessly interrupt every broadcast; virtually all films are shown "formatted" to fill non-widescreen TVs (A.M.C. frequently showed widescreen films in letterboxed broadcasts in the past but not anymore, with the recent exception, I noticed, of a Bruce Lee martial arts festival, of all things!); and then there are A.M.C.'s promotions for its upcoming schedule which are usually outrageously, stupidly silly (and boringly repeated ad nauseum). That said... (once more, I might add...)
This luridly Technicolored "triumph of trash" (not photographed in CinemaScope at a time when that process was Hollywood's way of luring us from our home black-and-white boob tubes) again grabbed me with the same stupefied amazement that fascinated me as a comparatively sheltered young teenager. Douglas Sirk's subversively manipulative direction, Russell Metty's opulent cinematography, the eye-filling and fairly luxurious art direction, and the turgidly expressive musical score all add up to what "over the top" really means. And the cast, assembled with an eye to populating this fantasy with near-godlike creatures (even the African American servants at the Hadley mansion are played by handsome and elegantly capable actors) was a cut above those assigned to most of the Universal-International product of that era.
It was surely Dorothy Malone's finest hour and her supporting actress Oscar was a popular choice among her peers and with the audiences of the day. Robert Stack, before he became such an ossified stiff in the years that followed, deservedly earned his own supporting actor Academy Award nomination. Rock Hudson hadn't yet managed to show his mettle as an actor of some range, though his performance in "Giant" released about the same time gave him a better opportunity to escape the oft-repeated complaint that he was "wooden" and nothing more than a slab of beef(cake). Lauren Bacall, though, was credible as an object of desire for two rivals and her soigne presence was a nice counterpoint to Malone's well-heeled tramp.
All in all this kind of moviemaking is rarely attempted today and the presumed tastes of today's audiences would, were a story like this mounted with a suitable budget and an equivalent cast, most likely be swamped with a degree of tastelessness that would be much less palatable than this example of Sirk's mastery of melodrama was when it was released. It's the cinema equivalent of those new calorie-laden ice cream treats that the dietary watchdogs are so assiduously warning us about now, but I doubt that it's as deleterious for our mental and emotional health. Sure hope not, 'cause I savored every frame!
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