Imitation of Life
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Movie Reviews of Imitation of Life
Movie Review: Unique Imitation!
Summary: 5 Stars
While most cinematic narratives of passing "so fully naturalize certain givens that they mask a range of contradictions inherent within them," Douglas Sirk's 1959 satiric remake of John Stahl's 1934 Imitation of Life brilliantly denaturalizes the intersections of race, class and gender presented in the film through Brechtian gestik acting-that is melodramatic, over-the-top acting that imitates behaviors rather than truly feeling them (quotation Valerie Smith's). By pursuing the film in this matter, Sirk produces a wonderful alienation effect (known by film connoisseurs as the "Verfremdungseffekt") that distances the filmgoers from the action, allowing them instead to sit back and criticize the main themes of the film. As the film progresses, we begin to wonder why such unnatural actions are considered perfectly natural by the characters, and consequently we begin to analyze the intersections of race, class and gender in America: Why were such racist and materialistic morals audaciously thought as natural and admirable in pre-Civil Rights America? Why does America idolize such stereotypical representation of beauty?Lora Meredith (Lana Turner) is first seen through a male lens-literally, that of Steve's (John Gavin's) camera. The wind blows through her white dress and perfectly-styled blonde hair as she calls for her daughter whom she's neglectfully lost sight of. The camera (both Steve's and Sirk's) moves slowly up her body, capturing what Michel Foucault has termed the "microphysics of power"-dissecting her figure into "spatial, temporal, gestural" fragments that represent the ideal woman (Ingeborg Majer O'Sickey). Even while in alleged distress, she walks daintily, smiling and holding her head up high, leaning gracefully over the boardwalk. Her actions, hair and attire closely resemble those of the 1959 Barbie "symbolic of society's ideal of the perfect woman" (Sage Sohier). We know little about Lora at this point (and neither does Steve), yet we know just by looking at her that she'll be the "successful" person in the story, whatever that means. It is the materialistic characters that Lora represents that make such lines as "you're making me feel cheap" by Lora so comical.
Tall, dark and handsome "Prince Charming" Steve suddenly appears at Lora's door shortly after the beach adventure with pictures, finds out she's a widow and quickly moves into her life. The way the two characters passionately throw themselves at each other during love scenes is laughable, especially when followed by Steve proposing marriage right away, then ordering her in his next breath to not go down to the acting studio "because [he] says so." She won't have to worry about getting a job because he'll be "the man," acting out his role as the money-bringer in the house while Lora stays home and looks pretty. The scene becomes especially comical watching it in the 21st century, when not too many women will settle for the machismo "men act, women appear" attitude (John Berger).
As Lora becomes "successful," we are brought into her spotless house filled with every material luxury in the world-yet even then the African American family of Annie (Juanita Moore) and Sarah Jane still stay in back rooms. Ironically, both daughters begin to reject their own mothers and practically "switch" them. While Annie and Suzy are sickeningly sweet, Annie's Sarah Jane (Susan Kohner) and Lora are overly dramatic. Even as a little girl, Sarah Jane (Karin Dicker) rejects her "blackness," and tries to pass for white. While she asserts: "I'm white," the camera slowly moves in on her wide eyes as dramatic music plays, allowing us to criticize her selfish actions for denying her race, rather than transcending racial boundaries. Similarly, we criticize Lora's actions as an irresponsible mother as she and Suzy drift further apart. During this tension, we're presented with a great interlude of levity when Suzy shouts "STOP ACTING!" at her mother-we were so used to the overacting to begin with that it became hysterical when another character (who acts over-the-top as well) has picked up on it.
While we're constantly reminded that the film is indeed a parodic imitation, we are brought back to the film's serious issues during Annie's lavish funeral scene when Mikaliah Jackson's character poignantly pours her heart out in a beautiful, eulogistic song. While many pull out the Kleenex during this scene, we must remember that it's NOT supposed to be cathartic. Instead, we should step back and think about how realistic it was for an African American female to receive such grand attention at a funeral. Then, we can sit back and cry for a real reason.
Unique and progressive for its time, and even funnier in the 21st century, Sirk's remake is a brilliant, provocative film-a gem that transcends generations, but lets us critically view pre- and post- Civil Rights America. Highly recommended!
Movie Review: "It's a sin to be ashamed of what you are - and it's a sin to lie about who you are."
Summary: 5 Stars
Made in 1959, Douglas Sirk's Imitation of Life is still just as evocative and as gorgeous to look today as it was almost 50 years ago. It's a real cinematic treat, shameless tearjerker, and an unabashed melodrama that dares to confront head-on issues of racism and the problems of motherhood at the stage when one's teenagers - in this case daughters--are growing up and preparing to enter the world.
Lana Turner has never looked more ravishing as Lora Meredith, a young New York widow who will do anything to realize her dreams of Broadway stardom. Together with her young daughter Susie, they live in a squalid apartment eking out a hand-to-mouth existence, their futures fuelled by unfulfilled dreams.
One day at Coney Island, Lora and Susie meet another a white girl Sarah Jane, who is being taken care of by a black woman, Annie Johnson (Juanita Moore), whom Lora mistakes for the maid. When told by her that she's the mother, the surprised Lora falters but then accepts it without a question as if it were a natural thing that a black woman has a white child.
The angelic and virtuous Annie asks Lora if she can come and help out around the apartment. Lora is initially hesitant - not because of Annie's race but because she's struggling and doesn't have any money to pay her a wage. Eventually, however, she relents and tells Annie that her and her daughter can stay for one night.
At the same time, Lora meets the extremely fine-looking wannabe photographer, Steve Archer (John Gavin). Steve takes an instant liking to Lora and offers to marry her. But Lora is far too concerned with realizing her acting dreams to be stifled by a man and by marriage. Meanwhile, the saintly Annie is troubled that her daughter is ashamed of being black and tries to pass herself off in school as white.
Imitation of Life follows these characters throughout their lives, with Sirk piling on the sentiment and melodrama every chance he can get. Lora does indeed become a famous Broadway actress, yet neglects her growing daughter in the process. Steve goes on to become a president of a large photographic organization, but has trouble relating to Lora's need to be independent and famous.
Annie's heart is eventually broken, gradually worn down by years of emotional abuse from her daughter. Sara Jane is so angry at being labeled as black that she repudiates her mother and ultimately runs away. Annie always stays the subservient and loyal maid; whilst her best friend and employer goes on to bask in a lush and international success. The contrast of the mother's compensations from their conflicting daughters is the story's ultimate paradox.
Lora, Annie, Steve and the two girls seem to be victims of each other. They all want to follow their own dreams and forge their own paths in life even when it doesn't seem to be doing them much good. They are also surprisingly oblivious of how manipulated they are by the world around them.
Lora gets her career but she's unlucky in love and terminally insecure as a mother, Whilst Sara Jane - perhaps the most damaged character - achieves her ambition to pass herself off as a white girl, but at great personal cost to both her and her aging mother.
Under Douglas Sirk's accomplished direction, Miss Turner et al acts ornately and elaborately, everything is over emphasized to within an inch of its life, especially Lana's gorgeous outfits, yet the film - clocking in at over two hours - is always compelling and is never boring.
The screenplay is sophisticated, the themes are brave and tempting and the look of the film - the brilliant surfaces, audacious colors, and the spatial complexities of 50s moderne architecture - bring to the forefront a bittersweet world of fantasy, entrapment, and emotional anxiety, and where the price of following one's dreams eventually comes at a harsh and desultory cost. Mike Leonard June 06.
Movie Review: This Imitation Is 100% Genuine!
Summary: 5 Stars
I have to say that I prefer this version to the 1934 Claudette Colbert film. Not only is it beautifully and lushly photographed, but all the performances are outstanding, as is the music.
The story of a struggling widow and aspiring actress trying to raise her young daughter, and the black woman she befriends and the two become close as the years pass and their daughters' problems begin to surface. Lana Turner, as Lora Meredith, is radiant and plays the mixture of glamorous star and a mother trying to be the best she can be, but only complicates matters further by her ambition and work. Juanita Moore is heart-breaking as Annie Johnson, a devoted friend and loving mother whose heart is shattered when her frustrated, hurt and rebellious daughter, Sarah Jane (portrayed by the sultry and splendid Susan Kohner) discovers that her light-colored skin makes it easy for her to pass for white. The late, always lovely and perky Sandra Dee plays Lora's daughter Susie, who is longing for her mother's love and attention. And John Gavin as Lora's on-again, off-again suitor Steve Archer gives a strong, gentle and compassionate performance.
The drama is wonderfully and sensitively presented: this was a time when the issue of racial inequality was a very real one, and many black or people of mixed race did pass for white, because they were ashamed of their background and wanted to fit in. Sarah Jane's attempts at this, which leads, among other things, to a relationship with Frankie (Troy Donahue, playing against type, in a brief but riveting scene), who beats her almost to a pulp when he discovers the truth. After that, she is constantly out searching for another way to escape her mother, her race, and herself. She feels inadequate compared to Susie, who appears to have all the advantages, and to Lora, who is successful and surrounded by the beautiful people. Her poor, ill mother is brought to despair, and finally makes the painful decision to let her daughter go. The scene in the hotel room had me weeping. Sarah Jane stares into the mirror, starting softly but repeats into a painful yell, "I'm white. White. WHITE!" When mother and daughter bid each other that heart-wrenching goodbye it was almost too much to bear. No wonder they were both Oscar-nominated. Turner is beautiful, and her realization that her daughter is in love with Steve, whom she is romantically involved with and is planning to marry, really throws her for a loop. When she comes to talk it out with Susie, this is when we see the anguish voiced, and we see Sandra Dee really come to life. Anyone who doubts her acting talent should see this movie. The argument starts out with her being angry and resentful, but then it culminates to her pain and sadness over her mother's neglect. (One can't help but compare the scene to Turner's troubled relationship with her own daughter, Cheryl). Susie calls her mother on "playing the martyr" and she confides in her mother that she wants some independence. Tears stream down her equisite, doll-like face.
The climax, with the death of Annie, the grief that follows at her funeral lead by the marvelous Mahalia Jackson, and the poignant, tear-jerking return of Sarah Jane just sums this movie up. It gets me every time. It is now available on DVD, sometimes as a set with the 1934 version. Have fun comparing, but for both, Kleenex is mandatory!
Update 2011: The special edition DVD has commentaries for both films as well as an interesting featurette where experts and surviving cast member Juanita Moore give insights and backgroud information on the times, the film and its stars. I highly recommend this edition of both versions of "Imitation Of Life".
Movie Review: Actually hurts to watch this one
Summary: 5 Stars
SPOILER ALERT! DON'T READ BEFORE SEEING THIS FILM! *********
Actually, I envy anyone who hasn't seen this one yet - they get to see it for the 1st time & it is amazing. Guaranteed to make anyone cry like a baby. Its really an unusual film in that its ostensibly a star vehicle for Lana Turner as Lora - & it is. But the centerpiece of the whole movie is the relationship between Annie(Juanita Moore) & Sarah Jane(Susan Kohner). Lora rises to stardom & makes maybe a hundred costume changes along the way. Her acting gets criticized a lot, but she's perfect for this part - a glamorous, self-absorbed but well-intentioned drama queen totally focused on her career & oblivious to all those around her. There's a brief but telling scene when she blurts out that she never realized that Annie had any friends (or by extension a life outside of being her maid). The 2 women lock eyes for an instant but another character interrupts & the moment is lost forever.
Like I said, this film is really about Annie & Sarah Jane & their scenes together (with both versions of Sarah Jane) are literally unbearably painful to watch. Sarah Jane is furious at the cruelty of segregation & prejudice & takes out her resentment at white people on poor Annie. She also has an escape hatch which she discovers early & uses at every opportunity - she can pass as white. But Annie can't & her actual presence repudiates Sarah Jane's lie & her daughter despises her for that fact. So by definition she must also despise herself.
Both women richly deserved their Oscar nominations, & as noted their scenes together are incredibly hurtful to watch. The last 2 scenes are particularly brutal. The 1st one is when Annie catches her daughter dancing at a strip club. Annie begs her to come home & talk to her but Sarah Jane turns her back on her & walks away with no intention of ever seeing her mother again. The 2nd one is the goodbye scene when Annie senses she's going to die soon & goes to LA to see Sarah Jane for one last time & is the ultimate tear-jerker. In the motel room when Sarah Jane refuses to let her mother sit down because she only wants to get rid of her as quickly as possible - & we can see how ill & distraught Annie is - this moment will rip the heart right out of your chest no matter how tough you think you are. The rest of this scene, although brief, is no less painful & will make anyone cry no matter how many times you see it.
It then becomes apparent that Annie's illness is actually her heart having been broken by her daughter's behavior as well as her constant & merciless abuse. So she dies & she's only in her late 30's or so at the most. But she always wanted a special funeral & had saved up for it over the years. And she gets it - Mahalia Jackson giving her all & an elaborate funeral cortege. We also get a glimpse of Annie's life away from Lora's house. Many people are there & they obviously think very highly of Annie. When Sarah Jane shows up & begs forgiveness much too late - this is one of the all-time great movie endings. In fact, the last 30 minutes or so of this film are extremely difficult to take & I know people who have seen this movie once & refuse to watch it again because its so painful. May be the ultimate chick flick - I can't recommend it highly enough in spite of being a man.
The transfer itself is awful. Its apparent that a lot of care went into the colors, set designs, clothes & cinematography but everything just looks washed out. Hopefully this classic will get the restoration it deseves some day.
Movie Review: Highly Recommended
Summary: 5 Stars
This movie starts off with a woman named Lora Meredith (Lana Turner), a strugglingwidow and aspiring actress with a young daughter named Susie. Buy chance she meets
Annie Johnson (Juanita Moore), also a struggling widow and her daughter Sarah Jane.
Lora employs Annie as a 'housekeeper" which provides Lora enough time to pursue her
dreams and this gives Annie and Sarah Jane a more permeant home. . Lora goes out and
follows her dreams while Annie, takes care of the home and provides a regular home
life for Susie and Sarah Jane.
After some time, Lora becomes a star on Broadway. Along the way, she acquires a love
interest in a man named Steve (John Gavin), who met Lora earlier in the movie and he
was an aspirering artist with dreams of his own. Once Lora has enough money coming
in, Annie, Susie, and Sarah Jane all move to a large house in the country.
Annie still continues to take care of Susie (Sandra Dee) and Sarah Jane (Susan
Koehner) as they grow up into young women. Throughout the movie, you begin to see
the different relationships that develop between the two mother and two daughters.
Sarah Jane dislikes her mother and constantly tries to act like she is white (due to
the fact that she is very light skinned). However, she looks up to Lora because she
is a successful white woman, which is what Sarah Jane wants to be. Susie on the
other hand, drifts further and further from her mother, because Lora is always away
shooting a movie or on tour with a play. She looks up to Annie because Annie was
around the house more than Susie's mother was. This was an excellent film which
showed some of the hardships that were encountered by African-American, mothers and
daughters, and people who were chasing a dream.
This film somewhat critiques existing stereotypes. Earlier in the movie, Steve
proposed to Lora. She refused, breaking the stereotype that woman are dependent on
men. However, at the end, when the three women are in the funeral car, even though
the women are fine, a shot-reverse-shot is used to show Steve legitimizes the fact
that the women are ok. The film also represents intersections of race, social &
economic class, and gender. For example, in the household there were two lower class
African-American women and two lower-middle class Caucasian women, but they were all
viewed as equals by each other, with the exception of Sarah-Jane (she viewed her
mother as subservient to Lora). Steve (a Caucasian, middle-class male) was also
sometimes a member of the house, and he also saw everyone as equals.