This great romantic melodrama from Douglas Sirk shares a lot with his film from the previous year, Magnificent Obsession. It has the same intense Technicolor, combining with music from Frank Skinner to give a dream quality, and much of the cast is the same, including leads Jane Wyman and Rock Hudson. However, for me this film is even more powerful than its predecessor, partly because the plot is not so far-fetched – stemming more from the characters without so many exterior twists.
The story of this film can in some ways be seen as a role reversal take on Magnificent Obsession. In the earlier movie, Rock Hudson played a rich character who had to embrace a whole new philosophy and change his way of life for the sake of love. This time around, it’s Jane Wyman who has to follow a similar path. She plays Cary Scott, a well-off but lonely widow who doesn’t have enough to do now that her children are grown up. It looks as if the only life she can have now is one revolving around an empty succession of cocktail parties and country club meetings. When her children visit, they seem extremely keen to consign her to a premature old age (Wyman was still in her 30s here, though the character is clearly older), complaining if she wears a low-cut dress and apparently hoping she will make a “suitable” marriage to the staid, boring Harvey. Their solution for her loneliness is to order her a TV set, even though she doesn’t want one. The television set and the layers of ornaments all seem like so many ways of trapping her in a gilded cage.
Please note I do discuss the whole plot of this film. So far I’ve written about a couple of lesser-known Douglas Sirk films. Now I’m on to one of his more famous melodramas, the glossy romance Magnificent Obsession – said to be one of the greatest weepies of all time. I’ll admit I stayed dry-eyed. For me the problem is that the soapy plot is just so far-fetched, even by the standards of this genre, and it’s hard to suspend disbelief enough to go with the emotions. Having said that, lead actors Jane Wyman and Rock Hudson are both excellent, Sirk’s direction is seductively smooth, and there are many great scenes and moments along the way.
One of those is the film’s opening. It is exciting, glamorous – and likely to hook most viewers from the start. Handsome, rich playboy Bob Merrick (Hudson) is at the helm of a hydroplane which clearly cost a fortune, ignoring warnings from bystanders as he heads out across the lake and piles on speed. In an action film, this kind of sequence would be designed to make the audience marvel at the hero’s daring – for instance, with the pre-credits stunts in Bond films. It has much the same effect in this “women’s emotion picture”, as you find yourself willing Bob to avoid the inevitable crash. Yet, at the same time as demonstrating his courage, it also shows the character’s fatal recklessness and self-absorption – something underlined by the comments of those surrounding him. “Doesn’t that guy have a brain?” “He doesn’t need to, he’s got four million bucks.”
Where does the time go? February’s half over and I’m only just getting on to my Douglas Sirk season – sorry to be slow, but hopefully I’ll still manage to fit in a few reviews! The earliest film included in the 7-DVD UK/region 2 Douglas Sirk Collection is the charming, bitter-sweet Has Anybody Seen My Gal? This is a small-town tale in gorgeous Technicolor (though sadly a bit faded on the DVD), as typical of Sirk, but, since it is a comedy, the mood is rather lighter than in many of his films. Unusually, it’s also a sort-of musical, with occasional brief bursts of song and dance, although none of them really come to much. This is a period piece, set in the 1920s, and it’s full of loving observation and beautiful sets and costumes to create the mood.
Top billing goes to Piper Laurie and Rock Hudson, who went on to work with Sirk on several better-known films – but make no mistake, this is Charles Coburn’s film all the way. In his mid-70s when he made this movie, the comedy great dominates throughout, and playing the lead rather than a smaller character part gives him the chance to show more layers to his grumpy but kindly screen persona. Once again, he plays a grandfather type loaded with money, as in earlier comedies like Bachelor Mother – but his wealth certainly doesn’t seem to be making him happy. As the film opens, he is pining away in bed, nursing imaginary ailments and making the lives of his employees a misery as he barks out cruel but witty one-liners.