Doc Corner: 'Rock Hudson: All That Heaven Allowed' and 'Wham!'

By Glenn Charlie Dunks

Rock Hudson’s story has been told many times either through his films, or more broadly, alongside Old Hollywood tales. Other times, it’s been shared through the stories of his collaborators and closefriends such as Doris Day or Elizabeth Taylor. Most prominently to modern audiences, the story of Rock Hudson has been told through the larger stories of AIDS and the inadvertent role that Hudson would play there as the first famous person to openly reveal they had acquired it in the mid 1980s. It is nice then to see him get the story all to himself, this time, in a film that celebrates rather than mourns...

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Hit Me With Your Best Shot: All That Heaven Allows (1955)

by Nathaniel R

Cary: I suppose these old beams are rotted.
Ron: No they're oak. They're good for another 100 years

Do any of you remember that short burst of retro Douglas Sirk-enthusiasm in 2002? Todd Haynes, Pedro Almodóvar and François Ozon (all of whom cite Sirk as an influence) all had new very stylized films out, and the lost art of melodrama was suddenly in the air and being discussed. Sirk was briefly exalted (especially in Haynes' Far From Heaven, a direct homage to All That Heaven Allows our topic today). Those were good times. It should happen every few years, trotting Sirk back out again, to marvel at his gifts.

Realism has not always been the most prized end-game of art, but for most of our lives the consensus, from critics audiences and awards bodies has wildly favoured it. Give us something real and gritty! Melodrama, then, is a hard ask for many moviegoers though we've never understood why...

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Lana @ 100: Imitation of Life

The Film Experience will visit a few Lana Turner films this week. Here's Nick Taylor...

Happy 100th birthday, Lana Turner! Here we are on her centennial to talk about her role as Lora Meredith in Douglas Sirk’s 1959 remake of Imitation of Life, one of her most famous films and easily among the most enduring American melodramas ever made. Imitation’s themes of race and womanhood in America, its sumptuous design, and Oscar-nominated turns from Juanita Moore and Susan Kohner have all rightly received their fair share of attention, yet I have to ask...  do most folks like Turner in this?

Maybe my perception that she’s disliked comes from a class in undergrad where my professor didn’t like anything about Turner, from her acting style to the era of beauty she represents. Sirk’s own comments on directing her certainly don’t help...

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Gene Tierney @ 100: Leave Her To Heaven

by Jason Adams

The surface of the lake is calm -- almost, but not quite, like a mirror. It's a clinical aquamarine color, not much different from Gene Tierney's own eyes. Not that we can see her eyes -- she's just put on her sunglasses. They too act as mirrors -- dark mirrors, reflecting darkness. Ellen Berent Harland (Tierney) watches as the annoying little "cripple" Danny (Darryl Hickman) breaks the sheen of the lake's surface, as if slipping through into some unseen Wonderland -- they say repeatedly the water is warm, so warm, so very warm, but it looks to us cold, ice cold, and indeed the actor Hickman got pneumonia from the filming of this, Leave Her to Heaven's most infamous scene.

But then that's a sense that suffuses all of John M. Stahl's 1945 technicolor Noir masterpiece -- the feeling that something that sounds warm and inviting on its surface might actually be hiding an icy purgatory of horrors just beneath...

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Fassbinder Double Feature: "Ali" & "Maria Braun"

by Cláudio Alves 

In these days of "social distancing" and delayed releases, the cinephiles among us must satiate our hunger for cinema in the privacy of their own homes. Streaming services are saviors during such trying times, offering a respite from the chaos. Among them, The Criterion Channel continues to shine brightest as a paragon for the promotion of the seventh art's best triumphs. Just this month, two of Rainer Werner Fassbinder's most beloved and accessible masterpieces were made available for streaming. We're talking about 1974's Ali: Fear Eats the Soul and 1979's The Marriage of Maria Braun.

Join us as we peruse the glamor and doom, fear and fury of these singular films…

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