From colorful love stories to tragic romances, here are five films from Hollywood’s Golden Age of Cinema that showcase the vibrant use of Technicolor.
In Post-War America, realism was a distant concern for the creatives and artists working within Hollywood’s Dream Factory. With Technicolor (once a revolutionary process) gaining momentum, studios were eager to highlight its vibrancy through grand productions marked by sprawling sets, high-stakes drama, and extravagant costumes. By the late 1960s, however, audiences began to crave more grounded, authentic portrayals, sparking a cultural shift that birthed the New Hollywood Movement. Despite this, the artistry of the Golden Age endures, preserved in the remarkable films of that era. Here are five romance films that not only remind us of the lost art of studio-era filmmaking but also rekindle our love for it.
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The Red Shoes (1948)
Michael Powell and Emeric Pressburger’s The Red Shoes remains an enduring masterpiece, captivating American audiences upon its 1948 debut with its brilliant use of Technicolor, lavish production values, and operatic plotline that could only ever exist on the silver screen. The film serves as a testament to the unparalleled mastery of color displayed by the English directorial duo, and stands as arguably the finest of their iconic, candy-colored films from this period.
At its heart, the film weaves the lives of three central characters, whose destinies intertwine amidst the creation of a ballet inspired by Hans Christian Andersen’s fairytale. Julian Craster (played by Marius Goring), an aspiring composer, falls passionately in love with the rising prima ballerina Victoria Page (Moira Shearer). Their romance is thwarted by Boris Lermontov (Anton Walbrook), the formidable arts impresario, who is determined to keep Victoria on the stage as his star, shunning domestic life in favor of her artistic career.
The film delves deeply into Victoria’s psyche, exploring her agonizing internal struggle between love and ambition. As her obsession with becoming the greatest ballerina she can be intensifies, her mental and emotional stability begins to unravel. Often hailed by cinephiles and scholars as one of the greatest films ever made, The Red Shoes is not only a timeless romance but also a cinematic triumph, boasting one of the most spectacular and unforgettable musical sequences in film history.
All That Heaven Allows (1955)
Douglas Sirk was undeniably the king of 1950s melodrama, expertly crafting lush, Technicolor worlds that, while visually stunning, never shied away from exposing the harsh, complex struggles facing post-war America. One of his finest achievements in this regard is his 1955 film All That Heaven Allows, starring Jane Wyman and Rock Hudson. Building on the success of the previous year’s Magnificent Obsession, Sirk pushes the boundaries of melodrama even further, delivering a profound Kitchen Sink Drama that explores the alienation of America’s upper middle class.
In what many consider the finest performance of her career, Wyman plays Cary Scott, a widow comfortably living in a pristine, cookie-cutter neighborhood on the East Coast. Her world is upended when she hires Ron Kirby, a handsome yet impoverished gardener played by Rock Hudson, who at the time was seeking to redefine himself as a serious actor. As Cary and Ron embark on their relationship, Cary faces harsh judgment and social alienation from her neighbors and family, who cannot accept the idea of an older woman finding love in an unconventional place.
All That Heaven Allows is more than a love story; it is a powerful commentary on defying societal norms and taking control of one’s life, no matter the expectations imposed by the world around us.
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To Catch a Thief (1955)
While Alfred Hitchcock is rightfully celebrated as the Master of Suspense, it’s easy to overlook the fact that many of his most iconic films also centered around compelling romantic relationships. From the charming, witty exchanges between James Stewart and Grace Kelly in Rear Window to the intense passion between Laurence Olivier and Joan Fontaine in Rebecca, Hitchcock had a remarkable knack for blending romance with suspense. One of his more underrated films and romantic pairings comes in the form of 1955’s To Catch a Thief, an opulent mystery set against the glamorous backdrop of European casinos.
In this stylish film, Cary Grant portrays John Robie, a notorious cat burglar who travels to the French Riviera to investigate a string of robberies committed in his signature style. There, he meets the alluring socialite Frances Stevens (Grace Kelly), who owns some of the region’s most valuable jewels, and is immediately captivated by her. When her collection is stolen, Frances begins to suspect Robie, ending their budding romance in the process. Now, with his reputation at stake, Robie becomes determined to find the true thief and clear his name.
To Catch a Thief is not only a marvel of craftsmanship, shot in brilliant Technicolor, but also the first film ever made in the stunning widescreen VistaVision format, offering a feast for the eyes. Edith Head’s iconic costumes add another layer of flair and vibrancy to the film. However, what truly stands out is the romantic chemistry between Kelly and Grant, particularly in a beautifully executed love scene involving fireworks—a moment that showcases Hitchcock’s unparalleled ability to use suggestion to heighten emotional tension.
An American in Paris (1951)
It seems almost criminal to exclude an MGM musical from this list, and while some films have undeniably stood the test of time more than others—such as the following year’s Singin’ in the Rain—An American in Paris certainly deserves its place here. Not only does it center around a glorious romance, but it also holds a significant place in cinematic history for its groundbreaking use of Technicolor and its bold push in cinematic craftsmanship, most notably through its breathtaking 17-minute ballet finale.
Set to the sweeping melodies of George Gershwin’s iconic An American in Paris suite, the film culminates in a magnificent ballet sequence, where Gene Kelly, Leslie Caron, and a cast of hundreds dance their hearts out. The ballet itself is a visual masterpiece, drawing inspiration from France’s celebrated Impressionist painters, all within a vibrantly executed tableau that redefines the possibilities of cinema.
The plot surrounding the ballet is equally compelling, following Jerry (Kelly), an American GI who remains in Paris after World War II to pursue a career as an artist. He soon falls in love with Lise (Leslie Caron, in her feature film debut), a young woman who, despite reciprocating his feelings, struggles with her loyalty to a former lover who saved her during the war. Torn between guilt and love, Lise finds herself unable to resist Jerry’s passion.
Directed by Vincente Minnelli, An American in Paris was awarded six Academy Awards including Best Picture and an honorary Oscar for Gene Kelly’s groundbreaking contributions to filmic dance. It remains one of the crowning achievements of the Hollywood Studio System.
Heaven Can Wait (1943)
Although marketed primarily as a comedy rather than a romance, Ernst Lubitsch’s Heaven Can Wait remains a heartwarming treasure that deserves a broader audience. In this delightful supernatural comedy, Don Ameche captures the hearts of audiences with his charming performance as Henry van Cleve, a spoiled playboy who unexpectedly finds himself at the gates of Hell after his death. Before he is admitted, the Devil allows Henry to recount his life, reflecting on both his virtues and vices to determine if he truly belongs there.
At the heart of the story lies Henry’s 25-year marriage to Martha (the radiant Gene Tierney), in which he committed a serious act of indiscretion, despite his deep love for her. Heaven Can Wait is a marvelous blend of comedy and drama, infused with the iconic “Lubitsch Touch” that defined the director’s films—elegant, witty, and often difficult to describe, but unmistakable once experienced. Supported by stellar performances, stunning Technicolor cinematography, and the generous budget of Golden Era 20th Century Fox, the film is an unmissable gem. It is a lighthearted romp that will not only charm you but also invite you to reflect on the small, yet profound moments in life that shape our own stories.
The Red Shoes (1948), All That Heaven Allows (1955) and Heaven Can Wait (1943) are available on home video from The Criterion Collection. An American in Paris (1951) is available on home video from Warner Bros. Pictures. To Catch a Thief (1955) is available on blu-ray from Paramount Presents.
