Hayne utilizes social issues like homophobia and racism, which remained mostly unspoken in many films of 1950s, from which he borrows and face them head on. In the scene, it becomes apparent that it is even worse to be a black than gay. One cannot fail to acknowledge how the themes of racism and sexual orientation as well as gender role are implicitly expressed in this particular scene of the film.
One evening when Frank decides to work late into the evening, when Cathy makes up her mind to bring his dinner at the office where he works, she finds him passionately kissing a fellow man. Frank then goes ahead to confess to have been through “problems” in his youthful days and consequently agrees to make an appointment for a conversion therapy. His relationship with Cathy hits a snag and damages beyond repair, which forces him to resort to alcohol. In the meantime, Cathy becomes cozy with Raymond. A neighbor sees Cathy with Raymond and spreads the vicious chitchat of Cathy’s indecorous relationship. The rumor finally gets to Frank, who becomes irritated about the whole issue. Despite the fact that Cathy tries to defend her friendship with Raymond, she eventually put a stop to it altogether.
Far from Heaven reflects the style used in many films of 1950s, particularly Douglas Sirk’s. Haynes diligently developed and chose appropriate color palettes for all scenes in the film. He accentuates experience with color in various scenes, for instance, where Cathy, Eleanor and their acquaintances dress up in red, yellow, brown and green. He utilizes green color to illuminate prohibited and baffling scenes. This is evident when Frank goes to a gay bar and when Cathy visits a black dominated restaurant in the black environs.
Haynes also utilizes shots and angles that reflect 1950s film epoch. Cinematographer, Edward Lachman developed the 1950s impression using similar form of lighting techniques and apparatus and also makes use