All that Heaven Allows
Douglas Sirk
Oral Presentation
Sequence Analysis
Melodrama is the genre that targets the deeply rooted emotions within humankind. Dramas, which hold moral dilemmas that lead to the outburst of emotions. This genre targets social problems such as gender, materialism, and class discrimination. In ‘All That Heaven Allows’ Douglas Sirk has found a profound balance for the execution of significant issues during the 1950s Society. In his work, Sirk harmoniously criticizes gender, class discrimination, materialism, conformity, and in other words the 1950s society.
Within a sequence that is known to be one of the most crucial moments of the 1950s masterpiece, Cary once again is placed in her home, isolated. Christmas time has approached, a time of the year that is known for nourishing family bonds, and yet Cary is left to merely watch the togetherness of others. As Cary decorates her home for the arrival of her Children she finds herself looking outside her window, which is a motif for the restricted life she leads. While Cary watches the children sing from inside her home, the camera angle works in a manner where the audience views Cary from the outside rather than in her perspective. This is a great strategy that Sirk employs regularly; where the audience becomes a representation of the 1950s society. The Window, retrospectively acting as a jail cell, frames the Protagonist… Meanwhile the continuous presence of a blue light is also not dismissed, as it sets the distinct separation between Cary; using the warm colors, and the society using cold colors. The weather is an essential aspect to the film throughout; where it utilized in order to reflect on the emotional state of the hero. Here, Cary faces the stormy cold from inside her warm home. This again reflects on the idea of how Cary is torn between these two worlds of expectation versus desires. Consecutively, she has always been identified by warm bright colors to compliment on her exuberant character. Yet, now that her wishes of being together with the one man she loves has been diminished, she is solely related to dark colors. Within this sequence she wears black, and this time it is her environment, which hold the bright colors. The color red has integrated to her surroundings; such as her daughter’s clothing, the flowers within the framing (as she speaks to her daughter about Ron), and most significantly the ribbon in which the TV is wrapped within.
Ky and Ned speak of selling their home due to Ky getting married and Ned moving on, this is a direct reference to the role of Cary; the mother. Having forbidden their mother from tasting happiness beside Ron’s presence, the only choice that is left is to embrace the accepted understandings of how to be happy. This saddens the character of Cary most, since this concept of isolation would soon be rid of, by solely accepting the relationship with Ron to endure.
The most captivating part of this sequence is the compelling objective of criticizing the materialistic values that were present in the society during the making of the film. Ned attempts to fill the emptiness that defines his widow Mother through the purchase of a TV. This segment is visually striking due to Cary being offered the “life’s parade”, and the option to choose any company she desires, whether it be drama, comedy or much more. Yet the breathtaking composition at the end of the sequence is what enhances the success of this sequence. As Cary is placed within the frame of the TV and sees her reflection, at that moment the audience sympathises that isolation cant be relinquished with the presence of materialistic elements.
It is due to the sensational focus on visual detail that enables to evoke emotions within the audience not only through visuals, but also auditory, and kinesthetic elements. Sirk has accomplished to execute a film that criticizes social issues during the time of the society (Conformity, materialism, gender, class…) through mastering the use of color, composition, camera angles, and sensory imagery.
Within a sequence that is known to be one of the most crucial moments of the 1950s masterpiece, Cary once again is placed in her home, isolated. Christmas time has approached, a time of the year that is known for nourishing family bonds, and yet Cary is left to merely watch the togetherness of others. As Cary decorates her home for the arrival of her Children she finds herself looking outside her window, which is a motif for the restricted life she leads. While Cary watches the children sing from inside her home, the camera angle works in a manner where the audience views Cary from the outside rather than in her perspective. This is a great strategy that Sirk employs regularly; where the audience becomes a representation of the 1950s society. The Window, retrospectively acting as a jail cell, frames the Protagonist… Meanwhile the continuous presence of a blue light is also not dismissed, as it sets the distinct separation between Cary; using the warm colors, and the society using cold colors. The weather is an essential aspect to the film throughout; where it utilized in order to reflect on the emotional state of the hero. Here, Cary faces the stormy cold from inside her warm home. This again reflects on the idea of how Cary is torn between these two worlds of expectation versus desires. Consecutively, she has always been identified by warm bright colors to compliment on her exuberant character. Yet, now that her wishes of being together with the one man she loves has been diminished, she is solely related to dark colors. Within this sequence she wears black, and this time it is her environment, which hold the bright colors. The color red has integrated to her surroundings; such as her daughter’s clothing, the flowers within the framing (as she speaks to her daughter about Ron), and most significantly the ribbon in which the TV is wrapped within.
Ky and Ned speak of selling their home due to Ky getting married and Ned moving on, this is a direct reference to the role of Cary; the mother. Having forbidden their mother from tasting happiness beside Ron’s presence, the only choice that is left is to embrace the accepted understandings of how to be happy. This saddens the character of Cary most, since this concept of isolation would soon be rid of, by solely accepting the relationship with Ron to endure.
The most captivating part of this sequence is the compelling objective of criticizing the materialistic values that were present in the society during the making of the film. Ned attempts to fill the emptiness that defines his widow Mother through the purchase of a TV. This segment is visually striking due to Cary being offered the “life’s parade”, and the option to choose any company she desires, whether it be drama, comedy or much more. Yet the breathtaking composition at the end of the sequence is what enhances the success of this sequence. As Cary is placed within the frame of the TV and sees her reflection, at that moment the audience sympathises that isolation cant be relinquished with the presence of materialistic elements.
It is due to the sensational focus on visual detail that enables to evoke emotions within the audience not only through visuals, but also auditory, and kinesthetic elements. Sirk has accomplished to execute a film that criticizes social issues during the time of the society (Conformity, materialism, gender, class…) through mastering the use of color, composition, camera angles, and sensory imagery.