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Although puny known today, in her fill era author Fannie Hurst was among America’s most eminent authors, a writer who frequently challenged the place quo in both her life and her literature. Among her most celebrated works was the unique IMITATION OF LIFE, which first came to the mask starring Claudette Colbert and Louise Beavers in 1934. Today both the original and film would be considered somewhat racist–but at the time both were considered social shockers, dealing frankly with single mothers, rebellious daughters, and racial issues in a plot that few novels and fewer tranquil films of the era dared.
The first film version was as faithful to the recent as it dared be, telling the anecdote of two single mothers–one shadowy, one white–who join forces and hit the grand time when the white woman successfully markets the unlit woman’s pancake recipe. But the 1959 film version substituted pancake make-up for pancake batter: the white woman is an actress, and with her murky friend unhurried her she climbs the ladder to Broadway stardom. Director Douglas Sirk was reknowned for his ability with this sort of material, and although he did better films IMITATION OF LIFE is perhaps his most certain stylistic statement: gallons of gloss, more soap suds than a sink burly of dishes, and enough coarse melodrama to fuel a thousand 1950s schoolgirl dreams.
This time around our stars are Lana Turner and Juanita Moore, supported by Sandra Dee and Susan Kohner as the respective and rebellious daughters who earn their mothers lives a living hell, with Lana’s daughter Sandra falling in cherish with her mother’s beau and Juanita’s daughter Susan positive to defeat the racist society in which she lives by passing for white. All four actresses give it everything they’ve got, which means they all emote to the nth degree as they suffer through every emotional upheaval the screenwriters can devise.
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Turner and Dee are essentially Turner and Dee. The true surprises here are Moore and Kohner. Saddled with a record that serene keeps the unlit woman in the kitchen while the white woman plays, Moore nonetheless gives an outstanding and ultimately heartbreaking performance, and Kohner matches her every bit of the design as the wayward daughter who makes one unpleasant choice after another in her refusal to knuckle under to a repressive society. It is a sizable pity that neither actress went on to equally high-profile roles and films, but the times were against them–as the very nature of the film’s yarn should effect abundantly positive.
The new fresh and film were actually advanced for their time, but by the time this version hit the veil the “white lady upstairs and the dusky lady downstairs” was hardly a rung up the ladder. Even in 1959 many denounced the film as perpetuating racial stereotypes and class-thinking, and by today’s standards it is alternately distasteful and absurd. But oddly enough, that fact doesn’t undercut the fantastic watchablity of the film. We may sneer at some of the values it presents, but it holds our attention all the design, and you’ll need at least three hankies for the film’s conclusion. If you are torn between purchasing the DVD or a VHS version, you should know that there is actually dinky dissimilarity between the two. The film has not been restored for DVD, and the lack of restoration is quite noticeable; moreover, the only bonus material on the DVD is the theatrical trailer. You might retract to go with a rude cost VHS until a really splendid DVD is released.
Imitation of Life is a movie that had perfect timing in the changing world of 1950’s Americana.
The oppression of upright segregation had taken its toll and a prime example of this burnout is Susan Kohner’s Sara Jane. This character had the perfect mother, but society told Sara Jane at a very young age that her mother would NEVER be trustworthy enough because of her sunless skin color. Sara Jane chafes at the limitations society places on her. She doesn’t want to be associated with maids, chauffeurs or going through wait on doors. She wants more, and as a `white woman’ she can net it. Many viewers who seek this film will be indignant at Sara Jane, however, one must remember that ‘black’ was not yet magnificent, and this is the pre-civil rights era.
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Lana Turner’s Laura Meredith asks Sara Jane, `have I ever treated you differently? ‘ The movie makes this respond abundantly obvious although Sara Jane answers `no.’ The audience sees Turner’s pigeonholing of Sara Jane and Annie. Even after years of living together – she actually says to Annie, `I didn’t know that you had any friends.’
Laura Meredith is a character that represents society as a whole in this film. She is the current run and therefore, pleasantly clueless about matters that doesn’t affect her, while aiming for and achieving her dreams. Through the passage of time Laura becomes rich, successful, and a star – and for Annie, well, she remains the maid.
The DVD of this movie is extremely bad. The transfer is down accurate dirty in one scene and grainy throughout the film. There is one scene where Sara Jane is running down the stairs and she freezes in action. Universal didn’t even care enough about the viewer to do this approved play-pause in a point where it would be seamless. This is a classic film that has been given anything but classic attention – extremely sloppy work from Universal.
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