Reżyseria:
Douglas SirkScenariusz:
George ZuckermanZdjęcia:
Russell MettyMuzyka:
Frank SkinnerObsada:
Rock Hudson, Lauren Bacall, Robert Stack, Dorothy Malone, Robert Keith, Grant Williams, Robert J. Wilke, John Larch, Roy Glenn, Maidie Norman (więcej)Opisy(1)
Robert Stack is Kyle Hadley, number one black sheep of the Hadley Clan, who attempts to cure his troubled life with a whirlwind marriage to the beautiful and unsuspecting Lucy Moore (Lauren Bacall). Marylee Hadley is the rebellious and drunken younger Hadley, perpetually in trouble and eager for diversions from her vacant existence. Rock Hudson as Kyle's virtuous best friend Mitch is the pillar of sanity around which the entire Hadley Clan clings for its survival. However, when meddlesome Marylee, wounded from a spurned infatuation with Mitch, insinuates that Lucy's expected child is actually his, the already fragile and explosive situation devolves into a tragic battle to the death. (oficjalny tekst dystrybutora)
(więcej)Recenzje (4)
Two best friends – an unhappy playboy and an even-tempered nice guy – and the two women between them. Written on the Wind is a glittering Hollywood take on traditional melodrama (something like the series Dallas). In the context of the genre, there’s nothing to fault it for, but it’s more of a kitschy film for our mothers to relax with than a spirited cinematic siesta.
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Melodrama is not a psychological drama. In it, hearts beat, tears flow, confessions hit the wall of misunderstanding, and male vanity demands satisfaction. Love, hatred, pain, and joy are sold in large packages. And in the case of Douglas Sirk, in quite luxurious packaging. After all, he is the most significant specialist in the genre of 1950s American cinema. This film has a star-studded cast, and those who enjoy melodrama will most likely not be disappointed. Personally, I can say that it would take me a long time to search my memory for a melodramatic film that moved me - and Written on the Wind would definitely not be it. Overall impression: 40%.
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The huge asset of this film is not Rock Hudson, Robert Stack, or Lauren Bacall, but Dorothy Malone, who is simply breathtakingly repulsive in her role. Well acted and worth watching for her alone. I like films that are about self-destruction, but this one didn't impress me that much.
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A guy met a guy... and then a girl interfered in their relationship. Roughly two-thirds of the way into the film, I realised that Sirk’s Written on the Wind isn’t so much a traditional heterosexual romance as it is an almost western duel between two men, friends for life and in death, whose frustrations (of different origins) gave rise to a weakness for guns and alcohol rather than members of the opposite sex. Women are their downfall. It’s possible that I’m completely missing the mark, but I’m trying to understand why (because of my delayed recognition of the creative intention) the film completely left me cold emotionally (which doesn’t happen to me very often with melodramas). In spite of that, however, I admired the pleasant directness of the storytelling from the beginning, as well as the ambiguity of the dialogue, the expressive language of the Technicolor hues (which stand in for more graphic erotic material) and the unmissable phallic symbolism, i.e. mostly indications of Sirk’s theatre background and his ability to connect the characters with the mise-en-scéne. However, his experience from the theatre does not explain the several brilliantly edited sequences (the father’s death) or the use of subjectivising camera angles that make us sympathise with the supposed villain, which are evidence of Sirk’s exceptionalism as a film director. I consider the final stroking of the model of an oil derrick, representing the phallus of the complex-ridden male protagonists as well as American society at the time, as clear proof of Sirk’s affiliation with the classic-era Hollywood “smugglers” who inserted rather subversive messages into stories that appeared to be so innocent on the surface. 75%
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