What does mise-en-scene contribute to our understanding of character and plot in the chosen sequence of All That Heaven Allows? Discuss how far this use is typical of Classical Narrative Cinema.

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What does mise-en-scene contribute to our understanding of character and plot in the chosen sequence of All That Heaven Allows?  Discuss how far this use is typical of Classical Narrative Cinema.

Chosen sequence:  Golden Rain Tree/Cary’s bedroom scene.

Before the emergence of ‘auteur theory’ the director Douglas Sirk was a renowned exponent of classical Hollywood narrative, particularly in the genre of romantic melodrama, of which his film All That Heaven Allows is a classic example.  However, he is now regarded as a master of mise-en-scene, one of the few tools left to a director working within the constraints of the Hollywood studio/institutional system who is now thought to have been highly critical of American mainstream culture and society in this prosperous era. 1, 2

The ‘Golden Rain Tree’ sequence occurs early on in the film after the opening panoramic, establishing shot – showing the scene of the action, a small middle-class New England town in autumn.  The main protagonists are soon introduced of which the prime causal agent is an unsettled woman, Cary Scott (Jane Wyman), in keeping with romantic melodrama.  As a widow, she is a victim of circumstance who is eager to change her life.  Her friend visits (Mona) and hopes to persuade Cary to take a conventional route out of widowhood but, by chance, she meets the gardener, Ron Kirby (Rock Hudson) and from the mise-en-scene in these opening scenes it is obvious that she would prefer a romantic affiliation of some sort with Ron.  After a few pleasantries, some tea at the table outside Cary’s house and some profound references to gardening, Ron goes to hand Cary a small brance/twig, evidently a token of deep affection.

The film so far displays all the conventions of classical narrative and maintains all the dominant ideologies of the day.  Cary is in a certain social class and she is expected to find a partner of similar standing and outlook (and age).  But the narrative and mise-en-scene has already established that she is looking for an alternative solution, foretelling the problems that lie ahead.

The Golden Rain Tree sequence starts in Cary’s bedroom with a match cut on the small branch which Ron just presented.  In itself, this is a typical example of continuity editing used to reinforce the developing classical narrative – the viewer immediately understands that the token from Ron has assumed a position close to Cary’s heart and she has now effectively placed Ron on her dressing table.  This is the type of mise-en-scene that you would expect to see in this particular genre.  The branch represents not just Ron but also all that he stands for, given his outspoken love of nature and anything to do with plants.  Also, in accordance with a classical narrative, there is a direct cause-effect logic in showing the branch.  The viewer knows exactly why the branch is there and who it is from.  If the film had started with this scene, there would be an element of mystery around the branch and who, if anyone, had presented it.  But the film always maintains a classical narrative, with omniscient narration whereby the viewer always understands the cause-effect logic, consolidated by standard continuity editing with a coherent sequencing of events across space and time.

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Having already set out the main protagonists, Sirk also needs to reinforce the notion of the contrast between Ron (nature) and Cary (traditional and conservative) and he does this well by laying out the interior grandeur of Cary’s bedroom, in fitting with her elevated social status.  She also wears the clothes of someone in her social position, favouring a traditional dress.

It is not until later in the film that Ron is shown in his natural ‘environment’ – rustic log cabins and mountains and country clothes.  In the meantime, Sirk starts with Cary’s world and the way this ...

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