All That Heaven Allows (1955)

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.

Director:

Douglas Sirk

Writers:

Peggy Thompson (screenplay) (as Peg Fenwick), Edna L. Lee (story)

Stars:

Jane Wyman, Rock Hudson, Agnes Moorehead

1 win.

Cast

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

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 her 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 Cary 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...

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Plot Keywords:

widow | gossip | older woman younger man relationship | star crossed lovers | melodrama | 

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Taglines:

How much does Heaven Allow a Woman in Love?

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Genres:

Drama | Romance

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Certificate:

Not Rated

Details

Country:

USA

Language:

English

Release Date:

25 December 1955 (USA)

Also Known As:

All That Heaven Allows

Filming Locations:

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

Box Office

Cumulative Worldwide Gross:

$170

Company Credits

Production Co:

Universal International Pictures (UI)

Technical Specs

Runtime:

89 min

Sound Mix:

Mono (Western Electric Recording)

Color:

Color (Eastmancolor and Technicolor)

Aspect Ratio:

2.00 : 1

Did You Know?

Trivia

This film is part of the Criterion Collection, spine #95.

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Goofs

We first see Cary drive a 1955 2 door Lincoln but several scenes later she is driving a 4 door Lincoln. It is possible that Cary, a recent widow, still had both the car she normally drove and her late husbands. This would account for the two different cars.

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Quotes

Cary Scott: Alida, what did you mean when you said that Ron taught Mick?
Alida Anderson: Well, it's... it's kind of hard to explain. I guess all of us are looking for security these days. You see, Mick thought, well, like a lot of other people, that if he had money and an important position, it would make him secure. Then when he met Ron, who didn't have either one and didn't seem to need them, he was completely baffled. The answer was so simple it took Mick a long time to figure it out.
Cary Scott: Well, what was the answer?
Alida Anderson: To ...

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Connections

Featured in Venom On The Shelf: All That Heaven Allows (1955) (2018)

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Soundtracks

Symphony No.1 inC minor, Op.68: 4th movement (the Alpenhorn melody)
(uncredited)
Music by Johannes Brahms

User Reviews

Disney was never so magical - Sirk polishes weepy romance to an exquisite gloss

Douglas Sirk's All That Heaven Allows could stand as a lesson about how, in gifted hands, movies can surmount and surpass their source material, elevating the routine into the rhapsodic. And that's more than a matter of just fleshing out the roles with appealing talent or supplying de luxe production values. It takes a sensibility that can suggest the complexity under the commonplace and spot the verities hidden beneath the clichés.

It's an alert sensibility that many emigrés from Europe, apprenticed in the artistic ferment between the wars, brought with them to Hollywood (among them this Dane, born Detlef Sierck). Hollywood gave them more money and security than they'd probably ever known, and when it also gave them hackneyed and meretricious scripts to capture on film, they devised new ways to freshen them up and, against all odds, make them work.

On its surface, All That Heaven Allows is little more than polite fiction from women's magazines circa mid-20th-century (and would today be a romance paperback with a beefcake cover). Youngish widow Jane Wyman starts keeping company with free-spirited Rock Hudson, her much younger gardener; despite wagging tongues among her country-club set and clucks of disapproval from her grown children, she finds, after many a twist and turn, true love.

But from his opening shot Sirk creates a dreamy, storybook world, so Disney-pretty that he might as well have started with `Once upon a time....' Swirling downward from a church steeple in a New England autumn, he shows us an affluent enclave just a commuter-train trip away from New York. Luncheons are taken on patios, station wagons the approved mode of travel and martinis the drink of the evening - the kind of town New Yorkers played by Bette Davis or Barbara Stanwyck meant when they referred to their `country' places in Connecticut.

In this idyllic bower, Wyman has resigned herself to a stately and well-appointed widowhood; she half-heartedly resists friend Agnes Moorehead's lures to put her back on the market (women without men, by choice or circumstance, just don't fit in). But Wyman's too classy for the boozed-up louts and gossipy shrews in her former set, and still too vital to succumb to valetudinarian Conrad Nagel's proposal for tepid `companionship.'

And that's when Hudson, come to prune the branches, catches her eye - and, somewhat less probably, she his. He whisks her out to see his tree farm, and they explore an old mill on his property (`I love to poke around old buildings,' she explains). When she suggests he fix up the dump and live there, it's to the horn theme from the last movement of Brahms' 1st Symphony. No wonder she ends up staying the weekend.

Here Sirk introduces a subtly subversive element: Hudson's friends, in discordant counterpoint to hers (who dismiss him as `nature boy' and a `good-looking set of muscles'). His are an amiably casual network of all ages and backgrounds who have opted out of the rat race or never cared to enter it (the `quiet desperation' passage from Thoreau's Walden screws the point home). Though their style of merrymaking brings to mind Old World folk festivals, they represent a segment of society rarely if ever seen in films of the era: Low-profile, thoughtful rebels against the smug status quo - post-war pioneers of the voluntary simplicity movement inflamed with a touch of ecological consciousness ( now laughed off as tree-hugging). It's a startling glimpse into a below-the-radar counterculture that must have been around even in the mid-'50s (and there's not a beret, goatee or bongo drum among them - they're presented without a hint of condescension or marginalization).

Hudson proposes, Wyman accepts. Even her children (Gloria Talbott and William Reynolds) are thrilled, so long as they assume her remarriage will be to stuffy, respectable Nagel. When they're told that their new stepdad will be the stud who cleans up the yard come spring and come fall, they go rigid with upper-middle-class snobbery. (And the specter of Mrs. Grundy floats in when Moorehead asks if people will think Wyman and Hudson were keeping company when Wyman's husband was still kicking.) Stranded between her familiar past and an uncertain future, Wyman begs for more time; Hudson, hewing to his mantra `to thine own self be true,' delivers an ultimatum....

Abetted by director of photography Russell Metty, Sirk paints this soapish weeper with a gorgeous palette of hues and tints (a feat that Todd Haynes emulated in his Sirk hommage Far From Heaven, for which this movie served as template). Now and again, he washes half the screen in an autumnal green-gold, the other in an enchanted-night mauve, situating characters at cross purposes in their respective halves.

Of course, splitting or doubling the screen, through barriers or mirror shots, is one of Sirk's signature tropes, reaching its apex when Wyman's hangdog face stares back from a newly delivered television set, a Christmas present from the kids (`Here's all the company you need. Drama, comedy, all life's parade at your fingertips,' goes the spiel.) Pointedly, the set never gets turned on; it's seen but once again, reflecting flames from the fireplace, the focal point of simpler, less sophisticated times, and the values Hudson embodies.

Sirk takes this unlikely June-September romance and buffs it to the highest possible gloss, using his exquisite eye to enrich and deepen every frame. It's lush and sensuous - almost candified (at times gluttingly so) - and all but impossible to resist. When, at the close, a deer gambols up to nuzzle some snow off the windowpane in the mill Hudson has turned into his - their - home, it's an embarrassment of perfection. Never was Disney so magical.