Film: Imitation of Life
Director: Douglas Sirk
Country: Germany / USA
Released: March 1959
Runtime: 125 minutes
Genre: Drama
Studio: Universal
Influenced: Rainer Weiner Fassbinder, Todd Haynes, Pedro Almodóvar, François Ozon, Jane Campion
Master of melodrama Douglas Sirk left his best until last with Imitation of Life, a remake of John Stahl’s 1934 film of Fannie Hurst’s novel about two single mothers, one white, one black, striving together in a man’s world. This and All That Heaven Allows (1955) are both fine films, visually stunning and emotionally powerful, each imbued with Sirk's signature melodramatic style. Imitation of Life focuses on the relationship between two women from different worlds: Lora Meredith, a struggling white actress, and Annie Johnson, her African-American housekeeper.
Both navigate the challenges of raising their respective daughters and pursuing their dreams, but have different experiences confronting the harsh realities of racial and social inequality in America. Sirk's use of colour and composition is a notable feature of his films, reaching a level of mastery in Imitation of Life, with each frame carefully crafted to evoke the emotions of the characters. The contrast between Lora's glamorous Hollywood lifestyle and Annie's humble home life is stark, and the film's rags-to-riches dynamic is brilliantly undercut in the film’s later episodes, especially the iconic final scene, which is a masterpiece in visual storytelling.
The performances are equally outstanding, with Lana Turner and Juanita Moore delivering nuanced and powerful performances as Lora and Annie. The supporting cast, including Sandra Dee and John Gavin, also add depth and complexity to the film's intricate narrative, and legendary gospel singer Mahalia Jackson adds some real star power in her cameo in the church scene. The film, and its characters, are obsessed with surfaces and appearances – in one heartbreaking scene, Annie forces her daughter Sarah Jane to look in the mirror at her reflection to help her accept her identity.
One feature that truly sets Imitation of Life apart, and has led to the film being so prized by audiences and critics, is its unflinching exploration of race and gender, which was miles ahead of its time. Sirk skilfully exposes the insidious ways in which racism and sexism intersect, leaving no character untouched by their damaging effects, but manages to balance this political dimension expertly with the need to make the film entertaining and emotionally engaging. It took some time for Sirk to get the credit he deserved, with critics re-evaluating his work in the 1970s and 80s, elevating him to the status of brilliant auteur, rather than simply a director of worthless "women’s pictures".
Comments