All That Heaven Allows (1955) introduces us to Cary Scott (Jane Wyman), a widow with two grown children, Kay (Gloria Talbott) and Ned (William Reynolds). Cary essentially lives alone now - both children are away at school - and Cary is finding herself at loose ends. Unlike her best friend, Sara Warren (Agnes Moorehead), Cary is not a "club woman" and her days seem endless. So, when Sara has to renege on a luncheon date, Cary invites her gardener, Ron Kirby (Rock Hudson) in for a cup of coffee. Cary becomes fascinated with Ron's life goals - a life within nature, growing trees. Ron's invitation to visit his nursery leads to a relationship between the two, one that is ridiculed by Cary's supposed friends (represented by the vindictive Mona Plash (played with relish by Jacqueline de Wit)) and rejected by her appalled children. Let's just get it out of the way - All That Heaven Allows is a melodrama - but WHAT a melodrama! With excellent performances from the two leads, reunited after their successful teaming in Magnificent Obsession (1954) along with Agnes Moorehead and most of the production cast (AFI catalog), and with support from the likes of Virginia Grey (Alida Anderson), and Hayden Rorke (Dr. Dan Hennessy), the film goes beyond its melodramatic roots to something much grander. But what really elevates the film is the cinematography by Russell Metty and costume design by Rose Brandi. The film glows with color and texture - you can see every leaf on the trees and the colors are sumptuous. It is very much like watching an exquisite painting, but one with a story and acting that keeps you involved with the characters. The script is tight, providing just enough information about the characters to keep you involved, but avoids having backstory that overwhelms the movie.
Douglas Sirk, the film's director, is the architect. Sirk built on a novel by Edna and Harry Lee (see this TCM article for more on Sirk and the film's creation); it's a wonder that this film got past the censors, since it is really about sexuality. Oh, sure, there is only a hint that Cary and Ron are intimate, but the attitude of the Peyton Place-ish town and of the Scott children is all about the fact that Cary, an "older woman." She's actually only just 40 - we are told she married at 17, and her son is about 22 (Criterion Collection discussion of the film and Jane Wyman) and Ron is about 30.
The film makes it clear that Cary is both attractive and interested in being sexually active. All of the reactions from family and supposed friends revolve around that point. Ned, for example, is offended by Cary's attractive evening gown (you can see it below) but is fine with the idea that she marry Harvey (Conrad Nagel), who has is interested only in a companionable marriage (translation - no sex). Kay is horrified at the thought of her mother marrying someone young and attractive, until she herself marries Freddie North (David Janssen), at which point she understand her mother's desires and acknowledges that her mother should follow her heart (and libido). The townspeople wink at Howard Hoffer's (Donald Curtis) womanizing, but start rumors that Cary and Ron were having an affair while Cary's husband was still living. It's a misogynistic, small-minded mess of an environment.
The middle-aged, upper middle-class, Anglo-Saxon Protestant gathering given by Sara (who really is the only person open to Cary's relationship with Ron) is juxtaposed against the party given by Mick (Charles Drake) and Alida Anderson. A mix of people of different ages and socioeconomic status, the Anderson party is the only place where Cary and Ron are totally welcomed and completely comfortable together. These are the people who abjure riches, and live with nature. Mick and Alida were from the social strata of the town, but Thoreau's Walden has become Mick's bible, and he now lives apart from society and the economic pressures of that life. It is a life that ultimately attracts Cary to Ron and the Andersons.
The chemistry between Rock Hudson and Jane Wyman, which was so apparent in Magnificent Obsession continues in this film. Though we are told there is an age gap (Ms. Wyman was actually about 8 years older than Mr. Hudson), it's really not all that noticeable - their relationship is so solid that they seem made for each other. It's a shame they never made any other films together. Virginia Grey also stood out as Alida; we found her quite engaging as the woman who gives up the rat race for her husband. Ms. Grey had a lengthy career - she started as a child in silent films (she played Little Eva in the 1927 Uncle Tom's Cabin). As an adult, she was a supporting player (as in this film) in A movies, and the lead in many B pictures. In the 1940s, after Carole Lombard's death, she began dating Clark Gable, but his sudden marriage to Lady Sylvia Ashley ended their relationship. After Robert Taylor's separation from Barbara Stanwyck, she also dated Mr. Taylor for a time (you can see a 1952 letter which he wrote to her here. Ms. Grey would later relate that Ms. Stanwyck despised her because of the relationship). Ms. Grey never married (it's been surmised she never got over Clark Gable); she would work in films and television until 1976. She died in 2004 at the age of 87. A note of interest - Gloria Talbott was not the first choice for the role of Kay. Producer Ross Hunter initially wanted to cast Jane Wyman's daughter, Maureen Reagan in the role, but finally decided she was too young (she was about 13 at the time).
The New York Timesreview was rather ho-hum (though reviewer Bosley Crowther really liked Jane Wyman). For a more recent observation, take a look at this brief analysis (including many scenes from the film) by Richard Brody that appeared in The New Yorker. Another tribute came by way of the filmmaker Todd Haynes in Far From Heaven (2002), which he modeled, both in plot and cinematic style, after All That Heaven Allows. We'll leave you with the trailer from the film, and a recommendation that you give it a viewing.
Every actor has that little known film that you think should be more highly regarded: There's Always Tomorrow (1956) is one of Barbara Stanwyck's. In it, she plays Norma Miller Vale, a successful fashion designer who decides to drop in on an old friend, Clifford Groves (Fred MacMurray) while vising Los Angeles on business. Norma worked for Cliff over 20 years before, when he was a beginning toymaker and she was the designer for his doll clothing. In the intervening time, he has become a successful businessman with his own toy manufacturing business. He has a wife, Marion (Joan Bennett) and three children: college man Vinnie (William Reynolds), high-school drama queen Ellen (Gigi Perreau) and middle-school ballerina Frances (Judy Nugent). Despite his success and a marriage that seems a happy one, Cliff is desperately unhappy - he is virtually ignored by his children, and his wife shows little understanding for his need to connect with her. So, when Norma shows up on his doorstep, their former friendship rekindles, but into something much deeper. MacMurray is the focus of most of the film's action. He shows us a man desperate for a closer relationship with his wife and children, but always ignored by a family that is just too busy for him. He seemingly has few friends - when his wife is unable to accompany him to the theatre, he has no one to call. The reappearance of Norma gives him a rope to grasp - someone to talk to, something he has not had for a long time. MacMurray is able to clearly show the conflict within Cliff - he truly loves his wife, but he wants her to be a companion again, not just a mother. Which brings us to Joan Bennett. Her Marion is someone who has created an image of herself and her life that is entirely about her children. She no longer views herself as Cliff's wife - he is secondary to her self-image. In one scene, Norma shows Marion a stunning evening gown that she believes will be attractive to Cliff. Marion dismisses it as "too young" for her; of course, it is gorgeous on Ms. Bennett, who has an amazing figure. But Marion sees herself as old, and certainly not in need of a gown that would be sexually appealing to her husband.
In one scene, Marion runs down the awfully BUSY day she is going to have. Among her duties - return books to the library, do the marketing. As working women, we shook our heads in despair - we ran all her errands (minus bringing the youngest child to school) AND hold full time jobs. And Marion has a housekeeper (Jane Darwell as Mrs. Rogers) - I'm sure it was rather hard for most film audiences to muster any sympathy for this rather privileged woman.
The children are the crux of the movie. They are rude, selfish, and spoiled. When their parents are speaking alone in their bedroom, the children walk in unannounced and interrupt. They are rude to a guest in their parents' home. Their father is treated by them only as a source of money. Much of their behavior devolves back to Marion, who doesn't even tell her husband about his youngest daughter's ballet recital. When Norma finally tells off the older two, you want to cheer. Stanwyck is, as always, magnificent. Norma loved Cliff deeply when they were young; it's something she has not really gotten over. But neither of them is looking for a physical relationship. They are seeking friendship; but because of Cliff's loneliness, the friendship begins to deepen for both of them. Stanwyck treads a careful path - make Norma likeable as "the other woman". To counterbalance the romance of Cliff and Norma, we have the beginning of young love - that of Vinnie and his fiancee Ann (Pat Crowley). William Reynolds gives us a Vinnie that is a brat - a young man who is still, as Ann tells him, a little boy. Pat Crowley is wonderful as Ann - she is a grown-up - the only one of the young people who see's Cliff's anguish, and the only one who knows he is not capable of deception. We looked forward to her scenes; Ann is a great character.
This was not Reynolds first experience with Sirk - he had already appeared as Jane Wyman's selfish son in All That Heaven Allows. He would go on to a career in television in The F.B.I.
Following that, he left acting to work as a businessman. The young
actresses who played his sisters also eventually left acting. Gigi
Perreau only recently made a few movies, after leaving acting in the
1970s; Judy Nugent (who also worked with Sirk in Magnificent Obsession) stopped acting in the 1962 - shortly after marrying actor Buck Taylor (they divorced in 1983).
This is an excellent movie, with a mature examination of infidelity.
Directed by Douglas Sirk, it is not surprising that the characters are
adults. He had already directed All That Heaven Allows (1955), another film that concentrates on a mature woman. Our couple are not kids in first love - they are middle-aged, with a host of adult issues that must be faced.
Interestingly, the film was not all that well received when it was
released, as this New York Times review demonstrates. That's unfortunate, especially now, when we so rarely see films about grown-ups. Yes, the story is rather ordinary, but the acting and the actors make it very special. This TCM article is much more appreciative of the subtleties of the narrative and of Sirk's storytelling. We'll leave you with a trailer from the film:
