All That Heaven Allows, directed by Douglas Sirk, utilizes the window and mirror as tools to highlight the contrast between the two characters, Cary Scott and Ron Kirby.
The window in Cary Scott’s house is small, and when Cary is depicted from outside the building, the window appears like a lattice. The window traps her in societal expectations, leaving her yearning for freedom from people’s gaze. People around her also leave her behind the window, and even push her back into her place whenever she tries to break free from it.
However, the window in Ron Kirby’s house is different, starting from its size. It is larger and frames the beautiful scenery of nature. When any character stands in front of this window, we feel a sense of freedom rather than suffocation. The movie ends with Ron and Cary standing in front of the giant window, showing how Cary finally freed herself from the people’s gaze and made a choice for herself. The choices she had made up to now were always for others. However, by choosing to be with Ron, viewers can realize that Cary overcame her fear of society’s judgment and made a decision she truly wanted—for herself.
The director also uses a mirror as a tool to show how Cary shapes herself to conform to societal expectations. She doesn’t look into her ego, but rather uses the mirror to see how others might view her. Every time she attempts self-reflection, external interference interrupts her, forcing her back into the role she is expected to play.
The question that I want the class to pose is
1. How does the eyeline match from the mirror scene highlight Cary’s character?
2. How does the wide shot and deep space amplify Ron’s character?
Leave a Reply