Regie:
Detlef SierckDrehbuch:
Peg FenwickKamera:
Russell MettyMusik:
Frank SkinnerBesetzung:
Jane Wyman, Rock Hudson, Agnes Moorehead, Conrad Nagel, Virginia Grey, Gloria Talbott, William Reynolds, Charles Drake, Hayden Rorke, Leigh Snowden (mehr)Inhalte(1)
Neu-England in den 1950er Jahren: Eine gutsituierte Witwe verliebt sich in ihren Gärtner und zieht mit dieser nicht standesgemäßen Beziehung den Zorn ihrer Kinder und Freunde auf sich.
Cary Scotts Kinder Kay und Ned sind beinahe erwachsen. Sie hätten nichts dagegen, wenn ihre Mutter noch einmal heiraten würde, allerdings kommt aus ihrer Sicht dafür nur ein Mann in Frage - der ältere, wohlhabende und angesehene Junggeselle Harvey. Doch Cary lernt den Gärtner Ron Kirby kennen, ein attraktiver, verschlossener Mann, der in einer malerischen Mühle lebt. Bald entwickelt sich zwischen den beiden einsamen Menschen eine zarte Liebe, und Cary blüht endlich zu neuem Leben auf. Doch Carys Umwelt reagiert verständnislos auf diese Verbindung. Ihre konservativen Freunde können nicht nachvollziehen, dass eine Frau wie sie sich mit einem Mann aus einfachen Verhältnissen eingelassen hat. Und ihre Kinder drohen Cary damit, den Kontakt zu ihr abzubrechen, wenn sie sich nicht von Ron lossagt.
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Kritiken (2)
On the surface, All That Heaven Allows is schmaltz coloured like a Disney movie (with probably unintentional references to Bambi and The Old Mill), but beneath the surface it is a dark story about a woman whose emotional liberation is hindered by the primness of middle-class society. It is an altogether extremely rich experience, both emotionally and intellectually. A house in the suburbs, presented by the TV series and commercials of the time as a wonderfully idyllic place, is for the protagonist a hell from which she cannot escape. The way that television (de)formed and still deforms the social position of women is shown by the film’s probably most famous scene, when the protagonist’s reflection becomes a prisoner of the television screen that her son brought to her in the belief that his mother will no longer obstruct him on his path to success with her unseemly ideas. Her position is also reflected by other props, serving here as symbols of the conformist and consumerist life of people who close their eyes (or doors, as in the scene with the maid in the background) to social reality. Objects express what Cary, bound by convention, cannot say. Sirk conveys what is essential through those objects and through colours, lighting and camera angles, thus confirming his position as the most astute cinematic psychoanalyst of post-war American society. 85%
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At first glance, a terribly simple storyline about how a woman and a man fall in love with each other, with the only problem being that each is from a slightly different social class. Especially in her case, it would be a problem if she got involved with him. However, she realizes, in very powerful scenes, that what she wants is not actually that selfish, at least compared to what others want, whom she wants to submit to. A beautiful movie.
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