Entre las creaciones más tímidas y artísticamente ambiciosas de Sirk, una obra implacablemente sombría e inquietante sobre la atracción erótica de la muerte. Hudson, tan modesto que parece desvanecerse de la pantalla, es un reportero en la Nueva Orleans de 1932 que se siente irresistiblemente atraído por LaVerne (Ms. Malone), una saltadora de paracaídas profesional que está obsesivamente involucrada con su esposo. (Stack), un piloto arrollador con un pronunciado deseo de muerte.

Cuando su romance provoca el desprecio de sus hijos y amigos del club de campo, una viuda debe decidir si buscar su propia felicidad o llevar una existencia solitaria y limitada en aras de la aprobación de los demás.

One of the most remarkable and unaccountable films ever made in Hollywood, Douglas Sirk’s masterpiece turns a lurid, melodramatic script into a screaming Brechtian essay on the shared impotence of American family and business life.

Cathy Whitaker, a 1950s housewife, lives in wealthy suburban Connecticut as she sees her seemingly perfect life begin to fall apart. It is done in the style of a Douglas Sirk film (especially 1955's All That Heaven Allows and 1959's Imitation of Life), dealing with complex contemporary issues such as race, gender roles, sexual orientation and class.

Lana Turner stars as a young widow and mother who will do anything to realize her dreams of Broadway stardom; her story is intertwined with that of Susan Kohner, the light-skinned daughter of Turner’s black maid, who is tempted to pass for white. By emphasizing brilliant surfaces, bold colors, and the spatial complexities of 50s moderne architecture, Sirk creates a world of illusion, entrapment, and emotional desperation.