7.4/10
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89 user 72 critic

Written on the Wind (1956)

Not Rated | | Drama | 25 December 1956 (USA)
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.

Director:

Douglas Sirk

Writers:

George Zuckerman (screenplay), Robert Wilder (based on the novel by)
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Won 1 Oscar. Another 3 nominations. See more awards »

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Cast

Cast overview, first billed only:
Rock Hudson ... Mitch Wayne
Lauren Bacall ... Lucy Moore Hadley
Robert Stack ... Kyle Hadley
Dorothy Malone ... Marylee Hadley
Robert Keith ... Jasper Hadley
Grant Williams ... Biff Miley
Robert J. Wilke ... Dan Willis
Edward Platt ... Doctor Paul Cochrane (as Edward C. Platt)
Harry Shannon ... Hoak Wayne
John Larch ... Roy Carter
Joseph Granby Joseph Granby ... R.J. Courtney
Roy Glenn ... Sam
Maidie Norman ... Bertha
William Schallert ... Reporter
Joanne Jordan Joanne Jordan ... Brunette
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Storyline

On 24 October 1955, the hard-work geologist of the Hadley Oil Company Mitch Wayne meets the executive secretary Lucy Moore in the office of her boss Bill Ryan in New York and invites her to go to a conference with the alcoholic playboy and son of a tycoon Kyle Hadley. On the way of the meeting, he confesses that they had traveled from Houston to New York to satisfy the wish of the reckless Kyle, who is his best friend since their childhood, of eating a sandwich from club 21 and the meeting was just a pretext to Kyle's father Jasper Hadley. Mitch and Kyle immediately fall in love for Lucy, and Kyle unsuccessfully uses his money to impress Lucy; then he opens his heart and proposes Lucy. They get married and travel to Acapulco and the insecure Kyle stops drinking. Meanwhile, Kyle's sister Marylee is an easy woman and has a non-corresponded crush on Mitch that sees her as a sister. One year later, Kyle discovers that he has a problem and might be sterile and starts drinking again. The ... Written by Claudio Carvalho, Rio de Janeiro, Brazil

Plot Summary | Add Synopsis

Taglines:

Lucy...faithful to her husband's name, even if she couldn't be to his love! See more »

Genres:

Drama

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

25 December 1956 (USA) See more »

Also Known As:

In den Wind geschrieben See more »

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Box Office

Cumulative Worldwide Gross:

$13,495
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

| (re-release)

Sound Mix:

Mono (Westrex Recording System)

Color:

Color (Technicolor)

Aspect Ratio:

2.00 : 1
See full technical specs »
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Did You Know?

Trivia

The car Robert Stack drives in the movie is an Allard J2X but not the Le Mans model. This model has open fenders while the Le Mans has closed fenders. It was painted yellow my the studio for this movie. It is #3144. See more »

Goofs

Lucy's lipstick color changes three times when she first meets Robert Stack, from orange-red in the office to coral in the taxi and pink-red in the airplane. See more »

Quotes

Jasper Hadley: Welcome to Hadley. The town and the family.
See more »

Connections

Featured in Tab Hunter Confidential (2015) See more »

Soundtracks

Written on the Wind
Music Victor Young
Lyrics Sammy Cahn
Sung by The Four Aces
See more »

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User Reviews

 
Gilded Trash
15 December 2002 | by mpofarrellSee all my reviews

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 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.


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