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Imitation of Life
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Directed by Douglas Sirk.
This glamorized remake of the 1934 film Imitation of Life bears only a passing resemblance to its source, the best-selling novel by Fannie Hurst. Originally, the heroine was a widowed mother who kept the wolf from the door by setting up a successful pancake business with her black housemaid. In the remake, Lana Turner stars as a would-be actress who is raising her daughter on her own. She chances to meet another single mother at the beach: African-American Juanita Moore. Moore goes to work as Turner's housekeeper, bringing her light-skinned daughter along. As Turner's stage career goes into high gear, Moore is saddled with the responsibility of raising both Turner's daughter and her own. Exposed to the advantages of the white world, Moore's grown-up daughter (Susan Kohner) passes for white, causing her mother a great deal of heartache. Meanwhile, Turner's grown daughter (Sandra Dee), neglected by her mother, seeks comfort in the arms of handsome photographer John Gavin. When Moore dies, her daughter realizes how selfish she's been; simultaneously, Turner awakens to the fact that she hasn't been much of a mother for her own daughter, whose romance has gone down the tubes. ~ Hal Erickson, All Movie Guide
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kristenkristen Imitation of Life (1959) Dougla ...
by kristen in kristen Blog
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"This stirring, eloquent look at controversial racial interrelation proves masterful in articulation, character development, and finds a message more profound than it appears. I have never been more moved by a sincere expression of faith and servitude in a film than demonstrated by black mother Annie, who in one sense is the focus of the story. One, I am shocked that such a human movie is Fassbinders favorite film, but I do see how Fassbinder derives a lot from the acting and the look. I do not think that my review can do justice to such an incredible movie.A struggling widow and mother Lora meets Annie, a single black mother trying to give her child a home, through a chance encounter when their kids start playing. From the beginning of the movie we see that life is a struggle for people of color. No one will give Annie a job since she refuses to part with her child, Sara Jane. Lora, though, has a connection with Annie, and allows Annie to share her home while Lora herself struggles ... " [More]
jlgdrdjlgdrd Chutzpah: Michael Radford's The ...
by jlgdrd in Wicked Fun
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"Like many of you I studied Shakespeare in high school and college, but The Merchant of Venice was a play I’d never read or seen. I’d heard that it raised the issue of Anti-Semitism, but assumed it made a case against it. In the short time that I have been reviewing films I’ve more or less adopted the personal wisdom that a red flag should emerge when I feel that I ought to like something. After seeing Michael Radford’s film, however, I chose to ignore my own best advice. I kept thinking about the sequence of events in Merchant of Venice, looking at them one way and another, I even considered the possibility that Shakespeare was trying to incense the audience. Provoke a sense of moral outrage. But then why did he keep “telling” us that Shylock (Al Pacino) the Jewish money-lender, had brought this all on himself? Why did it hold him up to a higher code of conduct than his oppressors? (One of the oldest dodges around.) Still I lacked the courage of ... " [More]
Review by All Movie Guide
All Movie Guide
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From the opening credits' cascade of jewels to the final orgy of grief and reconciliation, Douglas Sirk's remake of Imitation of Life encases a potentially maudlin soaper in a flamboyant style that incisively critiques 1950s America even as it mercilessly wrings emotions. Finding the perfect exemplars of artificiality in Lana Turner and cloying daughter Sandra Dee to contrast with the genuine, Oscar-nominated pathos of Juanita Moore and troubled daughter Susan Kohner, Sirk adds an extra bite to the divisions of race and class dictating Lora and Annie's unspoken assumption that Annie will always be the maid and Sarah Jane will always play second fiddle to Susie. The gaudy colors, over-the-top interiors (especially Lora's palatial home and Sarah Jane's vulgar nightclub), and copious mirrors emphasize the deleterious impact of the 1950s obsession with surfaces, whether racial, financial, or maternal. The casting of white actress Kohner to play a black passing for white speaks for itself. The climactic funeral featuring gospel singer Mahalia Jackson teeters between wrenching melodrama and comic irony, exemplifying Sirk's gift for pessimistic "happy" endings. Critical or not, Imitation of Life became Universal's biggest hit ever at that time, capping Sirk's soon-to-be distinguished career. ~ Lucia Bozzola, All Movie Guide
 



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