United States
1955
89 minutes
1.77:1
English
95
Jane Wyman is a repressed wealthy widow and Rock Hudson is the hunky Thoreau-following gardener who loves her in Douglas Sirk’s heartbreakingly beautiful indictment of 1950s small-town America. Sirk utilizes expressionist colors, reflective surfaces, and frames-within-frames to convey the loneliness and isolation of a matriarch trapped by the snobbery of her children and the gossip of her social-climbing country club chums. Criterion is proud to present this subversive Hollywood tearjerker in a special edition.
| Cary Scott | Jane Wyman |
| Ron Kirby | Rock Hudson |
| Sara Warren | Agnes Moorehead |
| Harvey | Conrad Nagel |
| Alida Anderson | Virginia Grey |
| Kay Scott | Gloria Talbot |
| Ned Scott | William Reynolds |
| Mick Anderson | Charles Drake |
| Dr. Hennessy | Hayden Rorke |
| Mona Plash | Jacqueline de Wit |
| Jo-Ann | Leigh Snowden |
| Howard Hoffer | Donald Curtis |
| George Warren | Alex Gerry |
| Manuel | Nestor Paiva |
| Mr. Weeks | Forrest Lewis |
| Tom Allenby | Tol Avery |
| Mary Ann | Merry Anders |
| Director | Douglas Sirk |
| Producer | Ross Hunter |
| Screenplay | Peg Fenwick |
| Based on the story by | Edna L. Lee and Harry Lee |
| Cinematography | Russell Metty |
| Art direction | Alexander Golitzen and Eric Orbom |
| Set decoration | Russell A. Gausman and Julia Heron |
| Editing | Frank Gross |
| Music | Frank Skinner |
Jonathan Rosenbaum has been posting a lot of his past work on his (relatively) new blog, a real boon for cinephiles, as the former Chicago Reader critic’s archives are four bounteous decades deep. The latest to appear is a recent essay . . .
It’s a clichéd truism that moviemaking is a collaborative art. Of course it is, and there are dozens, if not hundreds, of examples of directors working time and again with the same crew members, trusted writers, cameramen, production designers, editors, even costume designers, to prove it. We . . .
Douglas Sirk once said: “This is the dialectic—there is a very short distance between high art and trash, and trash that contains an element of craziness is by this very quality nearer to art.” When All That Heaven Allows was released by Universal Studios in 1955 . . .
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