Written on the Wind 1956 (1956) Other movies recommended for you
Written on the Wind 1956(in Hollywood Movies) Written on the Wind 1956 (1956) - Download Movie for mobile in best quality 3gp and mp4 format. Also stream Written on the Wind 1956 on your mobile, tablets and ipads
Plot: Alcoholic playboy Kyle Hadley marries the woman secretly loved by his poor but hard-working best friend, who in turn is pursued by Kyle's nymphomaniac sister. Runtime: 99 mins Release Date: 25 Dec 1956
Director Douglas Sirk once said `there's a very short distance between high art and trash, and trash that contains craziness is by this very quality nearer to art'. This statement defines his cinema perfectly, a very unique body of work that includes classic stage adaptations, adventure and war films, westerns and of course, his famous melodramas.Sirk's melodramas were, as the very word signifies, dramas with music. The music sets the tone for his masterful style, and every stroke of his brush Sirk was also a painter leaves a powerful image on the screen-turned-canvas. But this <more>
ain't life but its representation, an imitation of life. Sirk never tried to show reality, on the contrary. None of the directors of his generation made a better use of all the technical devices provided by Hollywood most notably Technicolor to distinguish the artificial from the real thing. Let's remember that his golden period coincides with the time when Hollywood films turned its attention into the social drama Blackboard jungle, Rebel without a cause . Sirk always knew that cinema was meant to be something else.Another of Sirk's statements summarizes this: `You can't reach, or touch, the real. You just see reflections. If you try to grasp happiness itself your fingers only meet glass'. I defy anybody that has seen Written on the wind to count the amount of mirrors and images reflected that appear on screen. One ends up giving up.Therefore, we are in a hall full of mirrors where there's no difference between real and its false copy. Nobody can say that the Hadley are real people. That town ain't real either, with those hideous oil pumps all over the place. So in this realm the acting is affected, the decore is fake, the trick is visible. Everything is pushed a little bit off the limit the sexual connotations of Dorothy Malone with the oil tower, for example . Sirk was criticizing and theorizing at the same time.`The angles are the director's thoughts; the lighting is his philosophy'. In Written on the wind we follow the fall of a traditional way of life both in a geometrical way and in terms of light and shadows. The Hadleys house, with its different levels connected by the spiral staircase operates in a strictly metaphorical way. A house that resembles a mausoleum, that no party can cheer up. As tragedy progresses from luminous daylight to shadowy night, Sirk's photography becomes an extension of the inner state of his characters, and so are the colours of the clothes they wear. Drama is thus incorporated to every element at the service of the director's craft.Sirk considered himself a `story bender', because he bended the standard material he was assigned with to his style and purpose. Written on the wind is a good example. It wouldn't work in any other hands.The other director that was using similar strategies was Frank Tashlin, who was for 50's comedy the same that Sirk was for melodrama. Their films are full of the machinery of american life -advertising, TV sets, jukeboxes, washing machines, sport cars, vacuum cleaners- to depict its emptiness and decay. I'm inclined to think that their films were regarded in a different way by their contemporary audiences. The game was played by both sides, so it was camp. Now we regard them as `cult' or `bizarre', because we are not those spectators anymore. That is why Todd Haynes's homage `Far from heaven' turns into a pastiche, because it reproduces Sirk's work nowadays as if nothing happened in between. Then Sirk turns exactly into that painting hanging in the art gallery that Julianne Moore and the gardener discuss in the aforementioned film.Sirk understood the elements of melodrama perfectly. There were always immovable characters Rock Hudson and Lauren Bacall here against which he could assemble a series of split ones. His balance through antithesis is remarkable and not surprisingly we root for the split characters, because these are the ones Sirk is interested in too. When Robert Stack flies the plane and `tempts' Lauren Bacall with all sorts of mundane comforts of the world below them obvious Faustian echoes we are strangely fascinated with him too, as we are when the devilish nymphomaniac little sister painfully evokes her past with Mitch alone by the river.In the Sirk's universe the studio often-imposed `happy ends' have no negative impact. In fact they worked just great. Sirk was fond of greek tragedy and considered happy endings the Deux ex machinea of his day. Thus the final courtroom scene fits well and one must also remember that the whole film is told in flashback, so we know from the very beginning that tragedy will fall nevertheless over the Hadley feud.It was pointed out the many similarities between Written on the Wind with the Godfather saga. I absolutely agree and I'm sure the parallel is not incidental. Both share the theme of the old powerful father head trying to keep his empire going while protecting his family. The temperamental son portrayed by Robert Stack has an amazing physical resemblance with Jimmy Caan's Sonny Corleone. The action of fighting her sister's male friend is symmetrical. The non-son in which the old man put his trust is also common in both films, as the fact that both families carry the names of their town. Even details as the gate that gives access to the property, and the surroundings of the house covered by leaves, suggest that Coppola had Written on the Wind in mind while setting his masterwork. Because both films deal with the subject of Power: the acquisition of power, its manipulation and legacy even Kyle Hadley's sterility, the event that hastens the turmoil, is an issue easily tied to the central theme of Power, in this case, a weakness in sexual power . The other great film that deals with power and uses american life as its representation is Citizen Kane. One wouldn't think at first of similarities between Welles and Sirk's films but there are a good many, starting with the petrol business as the origin of the family's fortune and ending in the fact that Mitch Wayne Rock Hudson , as Charles Foster Kane, was adopted by a tutor, having his own father alive. Amazingly, the same actor Harry Shannon perform both Wayne and Kane's fathers. This detail is cannot be a coincidence.Written on the Wind is a masterpiece in every aspect, in execution and vision, in style and technique, a highlight in the career of this wonderful director. Some say that this is his best film. In my opinion, `Magnificent obsession', `All that heaven allows', `There's always tomorrow' and `Imitation of life' are just as good. And for those who put Sirk in the level of Dallas or Dinasty I wish them no happy end.
Rich, alcoholic Robert Stack falls in love with secretary Lauren Bacall. He marries her and is so happy he stops drinking. However, Bacall is secretly loved by Stacks' best friend, Rock Hudson. And Stacks' nymphomaniac sister, Dorothy Malone, lusts after Rock. Throw in a few complications and the movie goes spinning out of control in a good way .Very glossy movie in beautiful Technicolor with jaw-dropping fashions and furnishings check out Bacall's hotel room at the beginning . Everybody looks perfect and dresses in beautiful, form-fitting clothes. Basically this is a soap opera <more>
with grade A production values. The story itself is lots of fun and some of the dialogue at the beginning is hilariously over the top. The acting by Hudson, Stack and Bacall isn't that good, but seeing them so young and glamorous is great...especially Stack...when he smiled my knees went weak! Dorothy Malone, on the other hand, is fantastic--she deservedly won Best Supporting Actress for her role. She's sexy, violent, vicious and sympathetic...all convincingly. Fun, glossy trash. Don't miss it!
Fabulous film! Rented the DVD recently and was floored by this stunning piece of work. Douglas Sirk was a filmmaking genius and he gets performances out of Rock Hudson, Dorothy Malone Oscar winner , Robert Stack Oscar nominated , and Lauren Bacall that words cannot describe. Paul Verhoeven brilliantly payed homage to this film by having Dorothy Malone play Sharon Stone's murdering inspirational guru in his Basic Instinct. What a great joke! By turns the film is hilarious, riveting, campy, biting, trashy, compelling, and eye rolling! It's definately the grandaddy of every tawdry <more>
big-and-little screen soap opera but none have had the dazzling style like you'll see here: the camera work is smooth and polished, the use of color is breathtaking, the opening montage set to the title song is beyond memorable, the one dimensional characters are unforgettable, and the final image will have you scratching your head as to how the censors back then let it make the final cut! While most older, highly regarded films can sometimes be a boring chore to sit through, Written on the Wind contains so much and goes by so fast that it's actually a shame when it ends. Thank you to Mr. Sirk for crafting -and Todd Haynes for drawing attention to- what has now become one of my favorite films of all time! SEE THIS MOVIE!!!
Overwrought melodrama about rich and perverse as only Sirk could make them (by bmacv)
The absolute summum of the oeuvre of that crafty Dane Douglas Sirk born Detlef Sierck , Written on the Wind compels our prurient attention in every gaudy frame. From its justly famous opening sequence, with the leaves blowing into the baronial foyer of a Texas mansion and the wind riffling the pages of the calendar into a flashback, the movie compresses into its 99 minutes all the familial intrigue that was to fuel such later, little-screen knockoffs as Dallas, Dynasty and Falcon Crest over their years-long runs.The combination of wealth and dysfunction is a theme Americans, in our <more>
dollar-based society, find irresistible. Brother and sister Robert Stack and Dorothy Malone are the spoiled, troubled heirs to the Hadly oil fortune; boyhood chum Rock Hudson and new bride Lauren Bacall are the sane outsiders who try to keep the lid on the roiling cauldron. It's been rumored that the story was based on Libby Holmann's marriage into Reynolds tobacco money. As always, the misfits get all the scenery to chew -- and the best lines to spit out Malone, in her Oscar-nabbing performance as the boozing nymphomaniac with a jones for Hudson, gets to detonate a whole fireworks display of them . Hudson, while good, can't compete with all this over-the-top emoting; Bacall starts out strong but grows recessive, a mere plot convenience. No matter; with a succession of set-pieces shot in extravagant hues, Sirk gives an object lesson in how to turn out overwrought melodrama set in the lush consumer paradise of late-50s America. Nobody ever did it better.
Another classic study of the effects of wealth on a southern family is masterfully depicted in Written on the Wind.Kyle Hadley has it all. Wealth, a plane, you name it. Kyle's best friend, Mitch, has always gotten him out of difficulty. Mitch finished college, Kyle got thrown out. Mitch is not from a wealthy home. Kyle's family, with Hadley Oil, controls most of everything in the town.While in N.Y., Kyle meets the girl of his dreams, nicely played by Lauren Bacall. After a whirlwind romance, he marries her and brings her home. There she meets her father-in-law who warns her how <more>
difficult Kyle can be. Kyle sleeps with a gun under his pillow. The Bacall character meets Kyle's sister, Mary Lee, a tramp if ever there were, played to the fullest by Dorothy Malone, who was voted best supporting actress.Rock Hudson plays Mitch, the faithful friend.A year of wedded bliss for Kyle and his bride ends when Kyle is told by the doctor that he can't have children. It is when his wife reveals to him that she is indeed pregnant, Kyle, thinking that the child is Mitch's, goes on a drunken frenzy and is accidentally shot dead in a memorable scene.Mary Lee, who has always loved Mitch, tries but is unsuccessful in blaming Mitch for Kyle's death. In a memorable courtroom scene, Malone pulled out all the stops in finally admitting that Kyle's death was an unfortunate accident. Her Oscar was well deserved.Surprisingly, Robert Stack, brilliant as Kyle Hadley, was nominated for best supporting actor and lost in an upset victory by Anthony Quinn, as Paul Gauguin, in Lust for Life.Douglas Sirk was the master of soap opera films of the 1950s. Written on the Wind is no exception. ***1/2.
A little mean to call it trash, isn't it? (by zetes)
When I think of something trashy and good, I'm thinking of something so bad it's good. Or maybe something that's trying really hard to please and is working, even if it is kind of crappy, maybe something like The Mummy Returns, which truly did please me. I don't think melodrama is in its nature trashy. This past weekend, I saw for the first time in my life Gone with the Wind, and, as God is my witness, I'm never watching that clumsy piece of filmmaking again. It is a florid melodrama, and so is Written on the Wind. But Written on the Wind handles itself so amazingly well. <more>
I almost wanted to clap when "The End" appeared on the screen. It is my personal Gone with the Wind, about 10 times better than that supposed masterpiece.POSSIBLE SPOILERSAs for the writing, the story and the dialogue, it was all good. Maybe not the best in the world, but still quite good. I did care about the characters, a good and necessary sign for a drama. The only weak spot is the courtroom scene, which is particularly bad even for this most cliched type of scene. But it also incorporates a lot of Freudian touches into the script, so there is always more going on beneath the surface. Especially watch Marylee and the scenes involving her. Pay close attention to her final scene in the film, where she has sole control of the Hadley oil industry. Look at what she is holding in her hand, for instance and make sure to notice the painting of her father behind her in this same scene .The acting was quite high quality, for the most part. Rock Hudson was good as the tough guy who has to try to keep the lid on his emotions. Robert Stack was excellent as a pathetic rich boy he also played drunk well, which is very hard to do , and Dorothy Malone is a standout as the nympho sister who works as a catalyst for the harrowing climax. The only weak point in this cast is Lauren Bacall, who, while not bad, does not exhibit much depth in the role of the newcomer into the oil dynasty.The real point of light in the whole proceedings is Douglas Sirk. He is why I picked this film up. I had heard his name countless times in my readings, and had always been interested. I mean, go through any user comments on this site to any of his films. People will say how cheesy or soap-opera-like his films are, but they all still love his films I don't recall a single negative comment in all of those that I read, and I read most of them . Any director who can do that, heck, any director who can be singled out as an auteur in the American studio system, deserves recognition. And Written on the Wind has an amazing style when compared to other Hollywood features of the same period. The way he moves his camera is quite a feat at times. Watch the way the camera rolls from Stack's yellow car to the upstairs bedroom window in the prologue/climactic scene, or how the camera follows the bartender through the beaded door, allowing the beads to graze the lense most Hollywood films in the studio system would have done a lot to have avoided this, but it adds a particular feeling to what is happening in that scene , or, my favorite scene, watch both the camera placement actually, here, the decision NOT to move the camera and the editing of the sequence involving the father's death. Possibly the most noticeable technique that differentiates this film from other Hollywood films of the same era is the startling use of color. The production design is more reminiscent of an MGM musical than a melodrama. The way color is used is very painterly, of the more modern art variety like Lichtenstein and Warhol. I don't know exactly what Sirk did all that for, but it makes these color films much more impressive than the often boring realistic style used in most films of the same period. In fact, I generally prefer black and white to color at this period, because so many cinematographers were unskilled in the way of color yet. Watching Written on the Wind is something akin to a light acid trip, and I'm sure Sirk regained popularity in the late 60s because of it. All in all, Written on the Wind is quite spectacular. I can't wait to see more Sirk films. I just rented Imitation of Life and Magnificent Obsession, so hopefully they live up to the high standard Written on the Wind has already set. 9/10.
At the Academy Awards ceremony on March 27, 1957, Dorothy Malone won the Best Supporting Actress Oscar for her torrid, over-the-top portrayal of a spoiled heiress of a Texas oil tycoon in WRITTEN ON THE WIND. The 1956 potboiler, adapted from Robert Wilder's novel , was a veritable three-ring-circus showcasing alcoholism, greed, impotence and nymphomania.Malone's performance as Marylee Hadley , a lonely rich girl who picks up men to assuage the pain of rejection from a former childhood sweetheart, was representative of the movie as a whole. Mesmerizing to watch even as it resorts to <more>
the "lowest -common- denominator" melodrama, WRITTEN ON THE WIND is ultimately the work of one man, the incredibly gifted director Douglas Sirk, an émigré from pre -World War 2 Weimar Germany who left his European theater heritage behind to pursue a career in Hollywood.An extremely erudite man, Sirk made a name for himself in the 1950's as Universal Studios' reliable director of lavish soap operas, most notably with Ross Hunter's productions of MAGNIFICENT OBSESSION , ALL THAT HEAVEN ALLOWS and IMITATION OF LIFE . Independent producer Albert Zugsmith offered Sirk the opportunity to work outside the limiting constraints of Universal's demure entertainments and create a more adult , "sensational" product , hence the sultry WIND and its follow-up, 1957's TARNISHED ANGELS, both released under the Universal International banner. It's anyone's guess why Sirk didn't pursue loftier themes, but apparently directing these exaggerated dramas appealed more to his artistic sensibilities. WRITTEN ON THE WIND could be considered Sirk's epic soap opera ; indeed, it is so rife with human vulnerability and neurosis as depicted among the very rich that it is as compelling to watch as any real life domestic squabble among the rich and famous, perhaps more so. Robert Stack not an actor typically known for over -emoting nearly matches Malone in intensity with his offering of the weak- willed brother Kyle Hadley, a mere shadow of his patriarchal father. When he finds out that he is unable to impregnate his new bride a beautifully leonine Lauren Bacall , Hadley goes off the deep end, escalating an already serious drinking problem with a "secret " gun fetish that threatens to make him a human time bomb. Both brother and sister, as venal and unlikeable as they are, are presented as victims of their past, giving them a human quality that makes them seem less monstrous and far more interesting than the 'good" side of the family, mainly Bacall and the impossibly handsome Rock Hudson , young Hadley's old boyhood friend and business associate, a surrogate son to the old man and Malone' s unattainable object of desire. Despite all the domestic co-dependency on display , it's not so much the story that is memorable here as the way it is filmed. With a real panache for pictorial composition and editing, director Sirk draws his audience into this picture with the most heightened Technicolor cinematography imaginable : every single shot in this film is an eye-filling canvas of saturated colors, from the sight of a tank-like pink Cadillac pulling up to an enormous mansion's front doors to the garish decor of a luxury Miami hotel , a spectrum of hues almost blinding in their diversity. Action and dramatic scenes feature Sirk's adept use of tilted camera angles , shadowy lighting and cross-cut editing , shown to greatest effect in the scene where a rebellious , drunken Malone dances uninhibitedly in her upstairs bedroom to the loud blaring of a record player while her stricken father precariously ascends the huge staircase ; the scene is so riveting that you swear you are experiencing a great oedipal drama unfold. What you're really watching is trash of an enormously entertaining kind, gussied up in lurid Technicolor and polished to perfection by a visual genius.
A dysfunctional family and a classic love triangle (by blanche-2)
Robert Stack never really got over losing a Best Supporting Actor Oscar for his role as Kyle in "Written on the Wind" to Anthony Quinn's 12-minute performance in "Lust for Life." Stack plays the deeply disturbed, alcoholic son of an oil tycoon. He has lived his life in the shadow of the friend with whom he was raised, Mitch, played by Rock Hudson. They both love the same woman, Lucy, Lauren Bacall , who becomes Kyle's wife. Kyle's sister, Marylee Dorothy Malone , is a drunken slut who's in love with Mitch. Their story plays out in glorious color under the <more>
able direction of Douglas Sirk, who really dominated the melodrama field with some incredible films, including "Imitation of Life," "All that Heaven Allows," "Magnificent Obsession," and many others.Make no mistake - this is a potboiler, and Stack and Dorothy Malone make the most of their roles, Malone winning a Best Supporting Actress Oscar. There's one amazing scene, mentioned in other comments, where she wildly dances to loud music as her father collapses and dies on the staircase. We're led to believe that Marylee sleeps with everyone, including the guy that pumps the gas, because she's in love with Mitch. Mitch wants nothing to do with her. He's so in love with Lucy that, out of loyalty to Kyle, he wants to go to work in Iran to avoid temptation. I doubt he'd be so anxious to get there today no matter how much in love he was.Hudson and Bacall have the less exciting roles here - Hudson's Mitch is the good guy who's been cleaning up Kyle's messes for his entire life, and Bacall is Mitch's wife who finds herself in a nightmare when her husband starts drinking again after a year of sobriety. Sirk focuses on the more volatile supporting players.In Sirk's hands, "Written on the Wind" is an effective film, and the big scene toward the end in the mansion is particularly exciting. The director had a gift for this type of movie, and though he had many imitators, he never had an equal.
Another in the they don't make em like that category. This story of a family with some real skeletons in its closet still qualifies as good clean, sometimes over-the-top fun. Robert Stack and Dorothy Malone are at their peak as the troubled Hadley siblings, and they really took the roles and ran with them. Malone won an Oscar and Stack was nominated in the supporting categories, both honors being eminently well-deserved. They counterbalance the somewhat bland leads. Neither Bacall nor Hudson could ever be called bad actors, but they've both had better parts and played them far more <more>
convincingly than they do here. It's kind of hard for me to accept Rock Hudson playing such a red-blooded heterosexual as he does here, but that's more of a personal bias than anything else. But that doesn't take away from the movie's overall entertainment value, which is considerable and this movie is extremely watchable. If you're up some night and this movie comes on I'd say watch it. It's well worth it.