All That Heaven Allows

All That Heaven Allows, the satirical and touching hallmark film of Douglas Sirk still manages to illicit emotional responses after 50 years of Cinema History.  A simple story of an older widow falling in love with a younger tree enthusiast, despite the backlash and hostility from upper class society.  The film utilizes its technicolour boundaries to its fullest degrees allowing for it to carry the thematic, and character burden that is ever present throughout the entire film. Albeit, this isn't the only noteworthy achievement of the film, but rather the directing, and costume/colour palette is  all worthy of discussion.

The most persistent reinforcement of ideas is suggested through the various and manifold examples of clothing. The widow Mrs. Cary is omnipresently brandished in a series of blue outfits, her car is blue,  and even her  house is a washed in a blue tinge.  Cary's  house is  vacuum sealed, sterile, stagnant; hallmarks to past recollections line the wall and rooms. However, the outwardly, rugged Ron is always present in a red manner; from his clothing, to his car, and his own possessions. These items play as gender norms or the passion present in their relationship, Cary being a docile, conservative housewife, in contrast to Ron's passionate hue of freedom. Although these roles are not situated in unflappable certainty but rather shift, as allegiances, love, and plot demands it.  From the beginning Cary is only presented in blue, once she is shown in red with another male, Harvey. She is uncomfortable, interrogated, conclusively the colour isn't appropriate for the time, love and passion hasn't found a home yet . Even when they are shown together, it is from a low judgemental angle, further asserting the unknown certainty of post-marriage courtship; regardless of the age and class discrepancy found in these early scenes. The movie utilizes this derision and age gap in various ways, besides this instance. Cary is very rarely if ever shown in the same frame with her children, separate shots or pans to them as they assert their own points or lives.  Another idea that foreshadows the duality, struggle, and ultimate love is shown earlier in the film. Cary's room is dark and dingy, an old outdated mode of light (her fireplace) fails to lighten and solve her widow woes.  When her daughter arrives, she deliberately turns on a new lamp, fuelled by electricity then splays herself on the bed. A subtle show of hand, about the new (Ron) invading her bed, lighting her life, and ultimately the love they show.

 Nevertheless these colours change, according to the advancement of the plot. They previously meet a couple  (Alida and Mick), who in their words abandoned the "philosophical notion" of keeping up with the Jones. Their gender norms and colours are switched,  she wears a red skirt and he wears a blue shirt,they themselves had transcended societal expectations. This is further emphasized later in the film, when  Ron and Cary meet after they agree to marry. More comfortable their relationship, Cary  is seen wearing a dark red shirt, Ron on the other hand sports a  blue tie, the gender norms now re-arranged. However the colour that Cary chooses is not a very vivacious tone of red, showing the uncertainty and unpleasantness shown to follow. Even after they break up  due to societal pressure, Ron is seen at all times with the blue scarf, a literal reminder of the life he previously had and would have had with Cary.  Another noteworthy scene in regards to clothing and colour, is when she asserts her decision to break up with her, she is seen looking forlornly out of a window, the dress she wears the same exact pattern and colour of the red shirt Ron has worn when they first met. Only when she is certain of her decision she has extracted out of  herself does she don the red.  Hence why in the end, where she wears a pure blue outfit,  it does not suggest a happy ending but rather an ending she is uncertain of, but willing to work towards it.

Mirrors, reflections, and windows play another pertinent position inside the film. They are the outward look of what Cary should be in civilization, what they expect out of her and how she can satisfy these goals.  In particular, the pestering and constant hassling from those around her to find herself a T.V is a constant reminder of what a normal life should be.  The networks at that time populated with the follies and tribulations of the standard caucasian, upper middle class, nuclear family.  This modern technology ironically is archaic and destructive. The life she lives in Ron's house, made from an old abandoned mill, is devoid of technology and modern society, does not have a T.V, and wild animal life is bountiful.  Hence, why in the end final image she see's out of a window, is not of herself or others, but a wild and free animal; a life that can be lived without expectations.

Lastly, Douglas Sirks satirical intrusions of overtly melodramatic music and camera movements is a welcoming touch, at times though they can be comical. He laughs at these ideas of what people should find romantic, but in reality would abashedly be against any more of severe age discrepancy in romantic relationships.

All That Heaven Allows, is a welcoming societal commentary of  Old Hollywood's love story. Still not as revolutionary or conversation inducing as Guess Whose Coming To Dinner, it still manages to be a solid piece of cinema; from its lush visuals, great acting, and interesting character decisions. One last thing to note, it was fascinating and over all refreshing how they did not give a long winded expositional build up as to why they fell in love, but rather small tender scenes, which made it seem slightly more real.