ALL THAT HEAVEN ALLOWS

All That Heaven Allows

All That Heaven Allows

Old Mill

Mature widow, Carey Scott lives a dull and uneventful in a small town in New England, dedicated to the happiness of her two children, Ned and Kay, who are entering the University. Hoping it does not end his days alone, her children and her friend and confidante, Sara Warren, grow into the arms of Harvey, fifties easy to find that her tenderness and security. But Carey still dream of a great love. It is in this frame of mind she meets Ron Kirby, attractive nursery - fifteen years younger than her - engaged by him to take care of his garden. Ron Kirby was not long before his passion and they become lovers (Reimer, 1996: 69). The young man took her into his home, located in an old mill in the woods where he lives far from the world of prejudices and conventions. But the connection is rejected Carey by his entourage, not only because of their age difference but because Kirby is a much lower social level. Not to displease her children, Carey breaks with Ron Harvey and begins to attend. Soon after, Ned and Kay married, engaged, leaves for abroad. Suffering from loneliness, learns that Ron Carey was the victim of a serious accident. Discovering that his sacrifice has not prevented the ingratitude of his children, she left the treatment and its cure, decided to brave the hypocrisy that surrounds marrying (Metz, 1993: 71).

Ron's Proposal

In the guise of the beautiful gardener emerges the possibility of another destiny. The first part of the film focuses and to highlight the connection between these two beings, the slip ratio boss / employee relationship to the passion that is their love story. If they are not the same social background, their ability to shut out the world tends to erase this antagonism. On the screen, their difference revolves around the gap between city and countryside and at first, it is the city that Cary visited Ron. Out of sight of the city, an old barn is the place of their first kiss. As often in All That Heaven Allows, Sirk is the last stage. A light traveling in Cary follows his movements bringing Ron into the frame, it is placed next to him, freezes, then turns his back. Sequence stretches pussyfooting around this until Ron terminated with a kiss, the two bodies entwine more no barrier between them. Cary ultimately does not go to the countryside to take the fresh air, it locks it to Ron. The staging of Douglas Sirk closely follows the desire of his heroine. While she is looking for warmth and protection, the filmmaker offers him warm interior scenes and big arms Ron fagoté in a red plaid shirt. This contrast between the heat of the fire and the cold outside is very noticeable in the image and this especially as winter is looming (Metz, 1993: 71).

As the couple gets engaged, their relationship can not be kept ...