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OK - Was "All That Heaven Allows" melodramatic? - Yes. Indeed. It was. And, was it corny-corny-corny? - Most definitely. And, was it clichéd to the max? - Yep. Right over the top. And, yet, regardless of all of the above - Was "All That Heaven Allows" worth a view? Yep. That it was. In fact, it actually could be worth a second viewing, too. (If, of course, you're in the right frame of mind) 1955's "All That Heaven Allows" was a lush, Technicolor, Ross Hunter/Douglas Sirk production that (believe it, or not) actually made "humdrum" seem somehow interesting. I don't know exactly what it is about this particular "suburban-life" soap opera that sets it apart from the rest of the junk - But, it certainly did manage to hold my attention for most of its 90-minute running time. *Note* - This film certainly did contain its fair share of unintentionally laughable dialogue and situations, especially when it came to widow Cary Scott's interaction with her 2 snot-nosed, college-age children.

Call it a melodrama. At times, the music swells to remind us that so much is on the line. Call it a soap opera. The script hardly misses a chance to string along the emotions of the viewer. But "All That Heaven Allows" is more than that, if only for its message--a simple one, but one that is extremely important: to thine own self be true. This story of romance would be worthwhile watching only for this lesson, but it offers more. The sets are beautiful. The direction is solid. Jane Wyman, who stars as Cary Scott, is convincing as the confused woman who loves a younger man but lacks the strength to follow her feelings. Rock Hudson plays the object of her affections--a man of principles who won't compromise his values. Gloria Talbott, who plays Cary's daughter, has a screen presence that, perhaps, could have been utilized more. Likewise, Agnes Moorehead as Cary's friend, Sara Warren. This is not a great film, but it represents its era very well, in terms of quality and theme.

Due to the success of 1954's "Magnificent Obsession", Universal once again called on Jane Wyman, Rock Hudson, Agnes Moorehead, and director Douglas Sirk for this passionate, heart-gripping look at the hypocrisy of small-town America. Wyman, a rich widow in this well-to-do New England town, falls in love with her gardener (Hudson) and all hell breaks loose. Her community ridicules her and her grown children are horrified by her. She finds herself having to choose love or the respect of those around her. The cinematography is beyond extraordinary, the score by Frank Skinner is unbelievably moving, Wyman is exquisite, and Sirk gives some of the best direction of his career. A really classy melodrama and completely worthwhile.