Written on the Wind (1956)

Rich, alcoholic Robert Stack falls in love with secretary Lauren Bacall. He marries her and is so happy he stops drinking. However, Bacall is secretly loved by Stacks' best friend, Rock Hudson. And Stacks' nymphomaniac sister, Dorothy Malone, lusts after Rock. Throw in a few complications and the movie goes spinning out of control (in a good way).

Very glossy movie in beautiful Technicolor with jaw-dropping fashions and furnishings (check out Bacall's hotel room at the beginning). Everybody looks perfect and dresses in beautiful, form-fitting clothes. Basically this is a soap opera with grade A production values. The story itself is lots of fun and some of the dialogue at the beginning is hilariously over the top. The acting by Hudson, Stack and Bacall isn't that good, but seeing them so young and glamorous is great...especially Stack...when he smiled my knees went weak! Dorothy Malone, on the other hand, is fantastic--she deservedly won Best Supporting Actress for her role. She's sexy, violent, vicious and sympathetic...all convincingly.

Fun, glossy trash. Don't miss it!

Fmovies: Channel-surfing earlier today I was passing the A.M.C. site and there was "Written on the Wind" already underway. I'd seen it during its first-run theatrical release (and not since) and was mildly surprised to observe how vividly I recalled its unfolding.

I rarely submit to watching anything on A.M.C. these days because this once watchable venue has deteriorated into nothing more than a merciless marketplace. Strings of commercials endlessly interrupt every broadcast; virtually all films are shown "formatted" to fill non-widescreen TVs (A.M.C. frequently showed widescreen films in letterboxed broadcasts in the past but not anymore, with the recent exception, I noticed, of a Bruce Lee martial arts festival, of all things!); and then there are A.M.C.'s promotions for its upcoming schedule which are usually outrageously, stupidly silly (and boringly repeated ad nauseum). That said... (once more, I might add...)

This luridly Technicolored "triumph of trash" (not photographed in CinemaScope at a time when that process was Hollywood's way of luring us from our home black-and-white boob tubes) again grabbed me with the same stupefied amazement that fascinated me as a comparatively sheltered young teenager. Douglas Sirk's subversively manipulative direction, Russell Metty's opulent cinematography, the eye-filling and fairly luxurious art direction, and the turgidly expressive musical score all add up to what "over the top" really means. And the cast, assembled with an eye to populating this fantasy with near-godlike creatures (even the African American servants at the Hadley mansion are played by handsome and elegantly capable actors) was a cut above those assigned to most of the Universal-International product of that era.

It was surely Dorothy Malone's finest hour and her supporting actress Oscar was a popular choice among her peers and with the audiences of the day. Robert Stack, before he became such an ossified stiff in the years that followed, deservedly earned his own supporting actor Academy Award nomination. Rock Hudson hadn't yet managed to show his mettle as an actor of some range, though his performance in "Giant" released about the same time gave him a better opportunity to escape the oft-repeated complaint that he was "wooden" and nothing more than a slab of beef(cake). Lauren Bacall, though, was credible as an object of desire for two rivals and her soigne presence was a nice counterpoint to Malone's well-heeled tramp.

All in all this kind of moviemaking is rarely attempted today and the presumed tastes of today's audiences would, were a story like this mounted with a suitable budget and an equivalent cast, most likely be swamped with a degree of tastelessness that would be much less palatable than this example of Sirk's mastery of melodrama was when it was released. It's the cinema equivalent of those new calorie-laden ice cream treats that the dietary watchdogs are so assiduously warning us about now, but I doubt that it's as deleterious for our mental and emotional health. Sure hope not, 'cause I savored every frame!

Mitch Wayne comes from a working family, but his childhood friendship with the children of oil magnate Hadley sees him continuing within the family and the family business as an adult. Kyle is his best friend, but is a spoilt playboy as a result of his money and privilege. When the two meet Lucy, they both fall for her but, as usual, it is Kyle that gets her attention and quickly marries her. Lucy joins the family home to find a spiteful and spoilt daughter, Marylee, who dislikes her but longs for the childish affection she still holds for Mitch. Against a background of money and privilege, tensions and emotions build between the friends and family.

Normally when I call something melodramatic it is a criticism but for those looking for melodrama that is well delivered then often Douglas Sirk is as good a place to look as any. This film is a fine example but I'll be the first to admit that the plot summary on paper does make it sound like the soapiest load of daytime TV filler ever! However the delivery is everything and the film succeeds in making the story and characters engaging. It is hard to describe well, but the story doesn't really happen in reality but rather in a sort of melodrama world of high emotions and I didn't expect it to draw me in. Part of the reason it did was down to Sirk's writing and direction. He creates this convincing world where everyone fits in and it all seems real.

Of course of the biggest factors is the cast, for it is starry and impressive. I've never been that taken by Hudson but he is a sturdy and manly lead actor here, even if he has the less showy material to work with. Bacall is strong and controls a great deal of the emotional core of the film. The main melodramatic flair comes from two other good performances. It was hard for me to get past the Stack I know from Airplane but he is very good here and descends well across the film. Likewise Malone plays her character well. As with many Sirk films, the cinematography, the look, of the film is important and this one expertly captures the feel of the fifties but doesn't look dated in a bad way – it still feels quite fresh and lively.

Overall this is a melodrama and if the very thought of that puts you off then you'd best avoid it. However it is a fine story that engages well even as it exists above reality. The cast are impressive with their material and are a big part of making it convincing and engaging.

Written on the Wind fmovies. One of the most oddly colored (violets,bright yellows and reds) wildly flamboyant films made in the 50's, expatriate German director Douglas Sirk made this as a soap opera with a nasty satiric bite. Although Lauren Bacall and Rock Hudson as staid camp followers of a wealthy Texas family are the "stars", it's the perverse characters played by Robert Stack and Dorothy Malone who make the film such a vivid nightmare of the Eisenhower era of outdoor barbecues and post-war wealth. Malone in particular, playing a nymphomaniac oil heiress who dances wildly while her father dies of a heart attack, breaks the mold of the sexually sequestered decade.

What can you say about "Written on the Wind," other than this is where the

genre of overproduced, inane Hollywood melodramas teeters into the realm of

genuine art. Every aspect of this highly artificial concoction is fully realized, an amazing example of the whole becoming far more than the sum of its parts.

Elements that are, considered separately, laughable (the abundance of

Freudian symbols, the hyperrealistic colors, the over-the-top acting, the gushy soundtrack) all strangely combine into a hypnotically watchable masterpiece. Clearly there's a genuine artist (director Douglas Sirk) at work here -- someone who can take all the usually misused contents of the 1950s Hollywood big

studio toolbox and create an astonishing work of art.

Director Douglas Sirk once said `there's a very short distance between high art and trash, and trash that contains craziness is by this very quality nearer to art'. This statement defines his cinema perfectly, a very unique body of work that includes classic stage adaptations, adventure and war films, westerns and of course, his famous melodramas.

Sirk's melodramas were, as the very word signifies, dramas with music. The music sets the tone for his masterful style, and every stroke of his brush (Sirk was also a painter) leaves a powerful image on the screen-turned-canvas. But this ain't life but its representation, an imitation of life. Sirk never tried to show reality, on the contrary. None of the directors of his generation made a better use of all the technical devices provided by Hollywood (most notably Technicolor) to distinguish the artificial from the real thing. Let's remember that his golden period coincides with the time when Hollywood films turned its attention into the social drama (Blackboard jungle, Rebel without a cause). Sirk always knew that cinema was meant to be something else.

Another of Sirk's statements summarizes this: `You can't reach, or touch, the real. You just see reflections. If you try to grasp happiness itself your fingers only meet glass'. I defy anybody that has seen Written on the wind to count the amount of mirrors and images reflected that appear on screen. One ends up giving up.

Therefore, we are in a hall full of mirrors where there's no difference between real and its false copy. Nobody can say that the Hadley are real people. That town ain't real either, with those hideous oil pumps all over the place. So in this realm the acting is affected, the decore is fake, the trick is visible. Everything is pushed a little bit off the limit (the sexual connotations of Dorothy Malone with the oil tower, for example). Sirk was criticizing and theorizing at the same time.

`The angles are the director's thoughts; the lighting is his philosophy'. In Written on the wind we follow the fall of a traditional way of life both in a geometrical way and in terms of light and shadows. The Hadleys house, with its different levels connected by the spiral staircase operates in a strictly metaphorical way. A house that resembles a mausoleum, that no party can cheer up. As tragedy progresses from luminous daylight to shadowy night, Sirk's photography becomes an extension of the inner state of his characters, and so are the colours of the clothes they wear. Drama is thus incorporated to every element at the service of the director's craft.

Sirk considered himself a `story bender', because he bended the standard material he was assigned with to his style and purpose. Written on the wind is a good example. It wouldn't work in any other hands.

The other director that was using similar strategies was Frank Tashlin, who was for 50's comedy the same that Sirk was for melodrama. Their films are full of the machinery of american life -advertising, TV sets, jukeboxes, washing machines, sport cars, vacuum cleaners- to depict its emptiness and decay. I'm inclined to think that their films were regarded in a different way by their contemporary audiences. The game was played by both sides, so it was camp. Now we regard them as `cult' or `bizarre', because we are not those spectators anymore. That is why Todd Haynes's homage `Far from heaven' turns into a pastiche, because it reproduces Sirk's w