Written on the Wind

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 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.

It is ironic that during the '50s, when Douglas Sirk was at his most successful in terms of audience appeal, he was virtually ignored by the critics… He is now seen, however, as a director of formidable intellect who achieved his best work in melodrama…

"Written on the Wind" is about the downfall of a Texan oil dynasty surrounded by worthless reputation, alcoholism, and nymphomania… It is about the twisted, fatal connections between sex, power, and money...

Stack draws a compelling portrait of a tormented drunken destroyed by frustration, arrogance, jealousy, insanity, and some deep insecurities…

Dorothy Malone succeeds as an attractive woman with an excessive sexual appetites, degrading herself for Hudson and to other fellows in town… Her best line: "I'm filthy." In one frantic scene, we see her shaking, quivering and sweating to a provocative mambo… In another weeping alone over a model oil-derrick at her father's desk—symbol of excessive wealth and masculine tyranny…

The frenetic atmosphere is both made palatable and intensified by Sirk's magnificent use of colors, lights, and careful use of mirrors

One of the most oddly colored (violets,bright yellows and reds) wildly flamboyant films made in the 50's, expatriate German director Douglas Sirk made this as a soap opera with a nasty satiric bite. Although Lauren Bacall and Rock Hudson as staid camp followers of a wealthy Texas family are the "stars", it's the perverse characters played by Robert Stack and Dorothy Malone who make the film such a vivid nightmare of the Eisenhower era of outdoor barbecues and post-war wealth. Malone in particular, playing a nymphomaniac oil heiress who dances wildly while her father dies of a heart attack, breaks the mold of the sexually sequestered decade.

Channel-surfing earlier today I was passing the A.M.C. site and there was "Written on the Wind" already underway. I'd seen it during its first-run theatrical release (and not since) and was mildly surprised to observe how vividly I recalled its unfolding.

I rarely submit to watching anything on A.M.C. these days because this once watchable venue has deteriorated into nothing more than a merciless marketplace. Strings of commercials endlessly interrupt every broadcast; virtually all films are shown "formatted" to fill non-widescreen TVs (A.M.C. frequently showed widescreen films in letterboxed broadcasts in the past but not anymore, with the recent exception, I noticed, of a Bruce Lee martial arts festival, of all things!); and then there are A.M.C.'s promotions for its upcoming schedule which are usually outrageously, stupidly silly (and boringly repeated ad nauseum). That said... (once more, I might add...)

This luridly Technicolored "triumph of trash" (not photographed in CinemaScope at a time when that process was Hollywood's way of luring us from our home black-and-white boob tubes) again grabbed me with the same stupefied amazement that fascinated me as a comparatively sheltered young teenager. Douglas Sirk's subversively manipulative direction, Russell Metty's opulent cinematography, the eye-filling and fairly luxurious art direction, and the turgidly expressive musical score all add up to what "over the top" really means. And the cast, assembled with an eye to populating this fantasy with near-godlike creatures (even the African American servants at the Hadley mansion are played by handsome and elegantly capable actors) was a cut above those assigned to most of the Universal-International product of that era.

It was surely Dorothy Malone's finest hour and her supporting actress Oscar was a popular choice among her peers and with the audiences of the day. Robert Stack, before he became such an ossified stiff in the years that followed, deservedly earned his own supporting actor Academy Award nomination. Rock Hudson hadn't yet managed to show his mettle as an actor of some range, though his performance in "Giant" released about the same time gave him a better opportunity to escape the oft-repeated complaint that he was "wooden" and nothing more than a slab of beef(cake). Lauren Bacall, though, was credible as an object of desire for two rivals and her soigne presence was a nice counterpoint to Malone's well-heeled tramp.

All in all this kind of moviemaking is rarely attempted today and the presumed tastes of today's audiences would, were a story like this mounted with a suitable budget and an equivalent cast, most likely be swamped with a degree of tastelessness that would be much less palatable than this example of Sirk's mastery of melodrama was when it was released. It's the cinema equivalent of those new calorie-laden ice cream treats that the dietary watchdogs are so assiduously warning us about now, but I doubt that it's as deleterious for our mental and emotional health. Sure hope not, 'cause I savored every frame!

What can you say about "Written on the Wind," other than this is where the

genre of overproduced, inane Hollywood melodramas teeters into the realm of

genuine art. Every aspect of this highly artificial concoction is fully realized, an amazing example of the whole becoming far more than the sum of its parts.

Elements that are, considered separately, laughable (the abundance of

Freudian symbols, the hyperrealistic colors, the over-the-top acting, the gushy soundtrack) all strangely combine into a hypnotically watchable masterpiece. Clearly there's a genuine artist (director Douglas Sirk) at work here -- someone who can take all the usually misused contents of the 1950s Hollywood big

studio toolbox and create an astonishing work of art.