Far from Heaven signals its artifice at the outset by its unmistakable links to Sirk's 1955 masterpiece All That Heaven Allows (a work that, after Far from Heaven and Fassbinder's 1974 Ali--Fear Eats the Soul, should be recognized as not only a great film but the cause of other great films).
Rather than imposing the enlightenment of latter-day opinions on its version of the '50s, Far from Heaven adopts the perspective of characters who can see no clear way out of the dilemmas their world forces on them.
After the air-conditioned, invisibly toxic contemporary wasteland mapped in Safe (1995), Haynes's unsettling, deadpan account of a woman's gradual withdrawal from a world to which she has unaccountably become allergic, Far from Heaven might seem like a turn toward a warmer, more inviting past, with Julianne Moore playing something of an ancestor to the damaged self she embodied in the earlier film.
The classicism of Far from Heaven is architectural; here decor--the decor that women spend their lives trying to get exactly right--is destiny.
It is not the least of Far from Heaven's paradoxes that in embracing the structure of the classic weepie it asserts a rigor utterly alien to the feel-good dynamics of movies in which, as Haynes says, "every character has to come to some kind of redemptive knowledge of who they are and what they've done wrong.
He shows me some of the preparatory books from the early stages of Far from Heaven's development: scenes from Sirk films reduced nearly to sequences of stills.
One theory is that iron heated under high pressure and low temperature in a CO atmosphere produces a penta-carbonyl vapor that can be easily transported and precipitated out far from the mold-metal interface.
While the theory seems attractive, it is not widely accepted as the reason for metallic iron deposition far from the mold-metal interface.
Another possible explanation has been presented for the occurrence of metal penetration far from the mold-metal interface.