Login

Recent searches

No recent searches

Search options

Only available when logged in.
social.coop is one of the many independent Mastodon servers you can use to participate in the fediverse.
A Fediverse instance for people interested in cooperative and collective projects. If you are interested in joining our community, please apply at https://join.social.coop/registration-form.html.

Administered by:

Server stats:

492
active users

social.coop: AboutStatusProfiles directoryPrivacy policy

Mastodon: AboutGet the appKeyboard shortcutsView source codev4.3.4

#janewyman

0 posts0 participants0 posts today
Public *
Ingrid Hoeben Ⓥ 🇧🇪

My ★★★★★ review of Magnificent Obsession (1954) on @letterboxd: boxd.it/8WtNbr

boxd.itA ★★★★★ review of Magnificent Obsession (1954)Another moving, human drama with loads of emotional impact. Signed Sirk. (Sirk, the magnificent) Jane Wyman plays her part with sincerity and subtlety. How can you not care for her character Helen Phillips. Rock Hudson gives his character power and life. Actually, what's not to like about this one? As a Sirk fan I might be biased, but I'm also right about this (yet) another grand piece of CINEMA. Richard Brody (The New Yorker): "Every step depends on stifled emotions and closely guarded secrets, resulting in a buildup of operatic passion that endows everyday gestures and inflections with grandeur and
#letterboxd#movies#sirk
Continued thread
Public
Ingrid Hoeben Ⓥ 🇧🇪

criterion.com/current/posts/32 #janewyman #allthatheavenallows #actress

The Criterion CollectionJane Wyman and All That Heaven AllowsTime has added some latter-day ironies to All That Heaven Allows, and not just the revelation that its star Rock Hudson was gay. There’s also the political career of Ronald Reagan, the ex-husband of Hudson’s costar, Jane Wyman—built on the gospel of the American family, something that Douglas Sirk’s exquisite film, which uses one romance to show how hard it was to break free in 1950s America, ruthlessly paints as a fraud. The pair’s eight-year marriage broke up, by Reagan’s own account, in part because his wife was so fiercely ambitious. Watching her play Cary Scott—well-off, well-bred, a housewife who’s always behaved as others expect her to—it’s easy to forget that Wyman wasn’t much like her greatest role. At the time of filming, Wyman was at the tail end of a career-best run of films, and nearly a quarter of a century removed from any life outside show business. Yet she slips under the skin of this sheltered widow as though she too had always lived in a circumscribed world of immaculate houses, self-involved children, dull parties, and duller companions. Sirk spells out his themes with meticulous clarity, as always. But there is great subtlety in this movie, and it is in Jane Wyman’s performance. Look at the opening, after a pillar of the local country club, Sarah (Agnes Moorehead), has dropped off a large set of dishes she borrowed. Cary is struggling to get them to her tasteful patio. Up comes her young gardener Ron (Rock Hudson) to lend a hand. Cary’s glances at him keep getting a tiny bit longer as she builds up to asking if he wants to have lunch. She pours him coffee, he sets it down and pulls out her chair. At once, there’s a change in Cary—her already lovely posture gets a touch straighter, and she does a graceful, charm-school slide into the proffered chair. And then, as she offers some rolls, Wyman locks eyes with Hudson, in a way she certainly didn’t do with Moorehead.
ExploreLive feeds
About