It's been a while since I've written for MUBI's Notebook (a week short of being exactly a year, actually), but I'm happy to announce a new piece on Douglas Sirk's crafty use of dissolves in his lovely suburban melodrama All That Heaven Allows (1955). The post syncs up, quite serendipitously (at least on my end), with Criterion's announcement of a Blu Ray/DVD reissue of the film this spring, the cover art of which looks typically exceptional. In that sense, I guess there's no better time to acquaint oneself with this work of art, an impeccably constructed indictment of repressive social mores in 1950s small-town America.
Wednesday, March 19, 2014
Douglas's Dissolves
It's been a while since I've written for MUBI's Notebook (a week short of being exactly a year, actually), but I'm happy to announce a new piece on Douglas Sirk's crafty use of dissolves in his lovely suburban melodrama All That Heaven Allows (1955). The post syncs up, quite serendipitously (at least on my end), with Criterion's announcement of a Blu Ray/DVD reissue of the film this spring, the cover art of which looks typically exceptional. In that sense, I guess there's no better time to acquaint oneself with this work of art, an impeccably constructed indictment of repressive social mores in 1950s small-town America.
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