I like the storyline of this show,it attract me so much

Excellent characters with emotional depth. My wife, daughter and granddaughter all enjoyed it...and me, too! Very good movie! You won't be disappointed.

It is interesting even when nothing much happens, which is for most of its 3-hour running time. Read full review

The film's masterful storytelling did its job. The message was clear. No need to overdo.

I never really liked the genre melodrama and this "written on the wind" was no exception. Almost everything in this film seemed to me forced and exaggerated. I did not create any empathy with any of the four main characters. The first half of the film is extremely boring and unconvincing, the second half improves a little by offering some reasonable moments. The performances of Rock Hudson and Lauren Bacall (this strangely) are quite weak. Robert Stack is a little better and Dorothy Malone is the only one who is on a good level. I also found the end of the film very pathetic.

This is only my second encounter with this maker after my first introduction the other day. I admit I can't peg him. The filming is seamlessly polished in the form, spacious. It vibrates with a modern air in the way it frames and moves. It's replete with so very attractive images and spaces: the young oil magnate trying to swoon the love interest in Miami airport, Bacall in the Miami suite, the blonde bombshell sister in her fire-engine red convertible, the road lined with oil derricks, the mansion floor strewn with leaves blown in through an open door. It's the kind of Hollywood reverie that you think would hint at something covert about sex and dreaming, elusive; the kind of movie Niagara is. Seeing such competent molding applied on such generic stuff makes you think it's going to be perhaps intended akin to how Welles built on his own potboilers, as a springboard for introspection, the mystery of shedding narrative on the walls and floor. And yet it remains safe, trivial, about the glossy surface.Part of the reason why I sought out this maker is because now and then his name appears in discussions about Lynch having influenced this or that. Part of it of course is that I'm always attracted to seductive manipulation. So there must have been a very brief window in time when these were potent. I can see how Lynch must have seen here an appealing wallpaper for Blue Velvet; but more than that how the seamless image could conceal and tease with everything this man made obvious.A key example is this: strong-minded Bacall against our expectation falls for the cocky playboy instead of the quiet Hudson character, she has seen in private a softer side to nurture, a normal human being eager for love. It's such a strong setup, having us see past the fixed movie image into more fluid self. We know of course his darker side of drinking and loathing will resurface, the question is how, when, what mysterious pull in the soul draws a darker nature. (This is what Lynch has been burying deeper and deeper in his works, blurring cause and making the urge something inscrutable in the fabric).There's a marvelous scene that foreshadows things, this is where she finds a gun under his pillow one night. This fundamental ambiguity would have been the cornerstone in noir of the time and prior: what secrets lie behind having to sleep with a gun, did she make a mistake in linking her life with him, and did she merely find the gun or some mysterious pull conjure it there? Can it be her urge to be rid of him and keep his fortune? Here when that darker self appears they based it on the most ludicrous exaggeration: a doctor telling him he may not be able to have kids and he becomes a raving loony. How silly.

Alcoholic playboy Kyle Hadley (Robert Stack) marries the woman (Lauren Bacall) secretly loved by his poor but hard-working best friend (Rock Hudson), who in turn is pursued by Kyle's nymphomaniac sister (Dorothy Malone).I love that the Criterion disc says it is presented in "lurid Technocolor". Not sure that is a compliment, but the film's palette is definitely brighter and more overwhelming than most films. And not in a bad way.I find it sad that director Douglas Sirk is largely forgotten and it took a German director, Rainer Fassbinder, to bring him back. There really needs to be a re-examining of his boundary-pushing films.

From director Douglas Sirk (All That Heaven Allows, Imitation of Life), this film featured in the book 1001 Movies You Must See Before You Die was one I was certainly looking forward to, I didn't read what the plot would involve, I was interested because of the two leads in the cast and the genre appealed to me. Basically Texas oil baron Jasper Hadley (Robert Keith) has two adult children, self-destructive nymphomaniac Marylee (Oscar and Golden Globe winning Dorothy Malone) and insecure playboy Kyle (Oscar nominated Robert Stack), both of whom are alcoholics, and they cannot sustain personal lives due to being spoilt with inherited wealth and crippling demons. It is after Kyle gets married in New York City to executive secretary Lucy Moore (Lauren Bacall) that more problems ensue, as she influences most of his decisions, and after being unsuccessful fathering a child he starts drinking again. Marylee's long-time infatuation Mitch Wayne (Rock Hudson), geologist for the oil company, is Kyle's childhood friend is one to be turned against, and after the death of Jasper his son's anger and depression really hit rock bottom. Mitch, despite her being married to his best friend, is secretly in love with his wife Lucy, he only reveals this to Kyle himself when it is revealed that he has a low sperm count, but she is pregnant, and he wrongly assumes that she slept with Mitch. During the assault Lucy fell down the stairs, and this causes her miscarriage, so Mitch tells her that once she is feeling better they will get out of town and travel somewhere, and Kyle meanwhile, in his drunken state, has got his hands on a gun and plans to shoot Mitch. Kyle ends up accidentally shooting himself when he and Marylee struggle for the weapon, and in revenge she wants to get Mitch stitched up for the death, and in a court case she does at first tell them that he was responsible. It is only in the second trial that she tearfully tells the truth, and in the end Marylee is left to mourn for her dead brother as Mitch and Lucy as they leave and run the company alone. Also starring Grant Williams as Biff Miley, Robert J. Wilke as Dan Willis, Edward C. Platt as Dr. Paul Cochrane and Harry Shannon as Hoak Wayne. Hudson as usual is good looking and pretty cool, Bacall is most of the time composed but concerned, and Malone does give an award worthy performance as the spoilt and troubled woman full of anger and arousal, Sirk as usual brings all the emotions to a much bigger level to create an all up and down emotional experience, it is a most watchable melodrama. It was nominated the Oscar for Best Song for the title song. Good!