This brilliant Douglas Sirk film is part of the BFI: The Power of Love season and also screens on 6th and 8th December. You can find the details here. Tonight's screening is followed by the a discussion led by the Feminist Guide to Love on Screen group. Entrance to the discussion is free to ticket holders. Full details here.
Here is an introduction to the meeting:
Join us for the third of our in-depth explorations of feminist issues relating to love and romance at the movies. Following the screening of All That Heaven Allows, we’ll discuss ‘women’s pictures,’ and whether films aimed at female audiences empower them as consumers with a distinct culture, or indoctrinate them into a certain (problematic) romantic ideology.
Chicago Reader review:
A masterpiece (1955) by one of the most inventive and recondite directors ever to work in Hollywood, Douglas Sirk. The story (which Rainer Werner Fassbinder remade as Ali: Fear Eats the Soul) concerns a romance between a middle-aged, middle-class widow (Jane Wyman) and a brawny young gardener (Rock Hudson)—the stuff of a standard weepie, you might think, until Sirk's camera begins to draw a deeply disturbing, deeply compassionate portrait of a woman trapped by stifling moral and social codes. Sirk's meaning is conveyed almost entirely by his mise-en-scene—a world of glistening, treacherous surfaces, of objects that take on a terrifying life of their own; he is one of those rare filmmakers who insist that you read the image. With Agnes Moorehead and Conrad Nagel.
Dave Kehr
Here (and above) is the trailer.
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