Douglas Sirk Movies
A box office smash and critical bust during his Hollywood career, director Douglas Sirk's artistic stature began to catch up with his popular success in the decades following his early retirement. Championed by auteurist critics and cineaste directors, Sirk's once-reviled melodramas evolved into an inspired blend of bathos and Brechtian distance, with the over the top histrionics of such films as Written on the Wind (1956) and Imitation of Life (1959) becoming deluxe tearjerking material as well as a mordant commentary on American values. Born Claus Detlev Sierck to Danish parents, Sirk headed to Germany in his teens to study drama and art history. Sirk forged a career as a successful theater director in Germany, staging works by such writers as Bertolt Brecht. After the Nazis came to power, Sirk shifted to film in 1934, directing stylishly assured melodramas, musicals, and star vehicles for UFA diva Zarah Leander. The left-wing director and his Jewish wife, however, left Germany in 1937, heading to the U.S. via several countries. Unknown in Hollywood, the newly renamed Sirk kicked around the studios for several years, finally receiving his first directorial assignment with the propaganda potboiler Hitler's Madmen (1943). Working for United Artists and Columbia throughout the 1940s, Sirk became a reliable journeyman, taking on projects from the Chekhov adaptation Summer Storm (1944) to the Lucille Ball crime drama Lured (1947) and a musical comedy Slightly French (1948). Sirk's taste for Baroque visuals served him well with the films noir Sleep, My Love (1948) and Shockproof (1949) (co-written by Sam Fuller).Signing a contract with Universal in 1950, Sirk tried to make the best of the "impossible stories" assigned him. Along with churning out such comedies and musicals as The Lady Pays Off (1951) and Has Anybody Seen My Gal? (1952), Sirk also dealt with new technology, directing a 3-D Western Taza, Son of Cochise (1954), starring contract player Rock Hudson as Taza, and a CinemaScope adventure yarn Sign of the Pagan (1954). Another 1954 release, however, transformed Sirk into a studio moneymaker and future auteur darling. Remaking the 1935 soaper (from a novel he deemed unreadable), Sirk staged Magnificent Obsession's patently absurd story of reformed playboy Rock Hudson's relationship with blind widow Jane Wyman in gaudy Technicolor, matching the tale's fevered emotionalism. A substantial hit, Magnificent Obsession made Hudson a star and began a successful collaboration between Sirk, Hudson, producer Ross Hunter, and cinematographer Russell Metty.
Although Sirk continued to produce films in other genres, including the glossy adventure story Captain Lightfoot (1955), the war drama Battle Hymn (1956) -- both starring Hudson -- and an adaptation of Erich Maria Remarque's A Time to Love and a Time to Die (1958), his subsequent reputation rested on four late-'50s melodramas. Re-teaming with Hudson, Wyman, Metty, and Hunter, Sirk's All That Heaven Allows (1955) crystallized his ability to lather up the crowd-pleasing romantic soap while caustically critiquing 1950s America. Set in a perfect town lit and styled for maximum artifice, the love story between Wyman's uptight middle class widow and Hudson's younger free spirit gardener becomes a study in contrasts between her imprisoning home and his rural aerie, her stifling friends and children and his relaxed comrades. Perhaps untouched by the visual suggestion that this couple could never really work, audiences loved it.
Described by one scholar as the "consummate" Sirk film, Written on the Wind (1956) featured Hudson, Robert Stack, Lauren Bacall, and Dorothy Malone in a tortured love quadrangle set against the spectacle of a declining oil dynasty. With a plot that included alcoholism, impotence, nymphomania, violent death, an ultra-theatrically lit family estate shot from odd angles, and such remarkable set pieces as Malone's fervid dance with Hudson's picture, Sirk powerfully evoked the corrupt desperation of the wealthy, despite the "happy" ending. A rare contemporary critical hit, Written on the Wind earned Malone the Oscar for Best Supporting Actress. Reuniting the trio of Hudson, Malone, and Stack, the even more downbeat The Tarnished Angels (1957) was, as Sirk put it, a thematic "study in failure." Adapted from William Faulkner's Pylon and shot in pristine black and white CinemaScope, the Depression-era story of reckless air show performers once again displayed Sirk's skill for melding story and form, with the monochrome matching the somber mood of hopelessness while the wide screen vistas underlined flying's dangerous allure for the eponymous aerialists.
Sirk's final Hollywood feature was another popular soap opera that also epitomized his cool yet garishly elegant visual style and sharp social conscience. In his version of Imitation of Life (1959), the obsession with surfaces that drives Lana Turner's star actress Lora to succeed at all costs and Susan Kohner's light-skinned black Sarah Jane to "pass" for white is brought to emotional life through florid interiors and a plethora of mirrors, windows, and polished objects. With Sandra Dee as Lora's neglected daughter and Juanita Moore as Lora's loyal servant and Sarah Jane's mother, Sirk created another quartet of contrasts (including Turner's occasionally hilarious star "acting" versus Moore and Kohner's naturalism) that illuminates the cost of American ambition and racism. As Sirk noted of the climactic funeral scene and teary reconciliation of mother and daughter(s), "Everything seems to be OK, but you well know it isn't." Regardless, Imitation of Life became Universal's biggest hit to that point, and Kohner and Moore received Oscar nominations for Supporting Actress.
Though he retired early due to health problems, Sirk lived long enough to see his once disdained melodramas attract ardent fans among film savants; a reconsideration enhanced by the first Sirk retrospectives in the early '70s and the publication of extensive interviews with the director, Sirk on Sirk, in 1972. By the time Sirk died in 1987, critic Andrew Sarris's prediction that "Time, if nothing else, will vindicate Douglas Sirk" had been fulfilled. ~ Lucia Bozzola, Rovi
- 1956
There's Always Tomorrow is a remake of a 1934 film of the same name. Fred MacMurray is a toy company executive whose wife (Joan Bennett) and kids (Gigi Perreau, William Reynolds and Judy Nugent) take him for granted. Barbara Stanwyck is Fred's former girlfriend, whose own business activities result in a surprise reunion. MacMurray falls back in love with Stanwyck and prepares to leave his family. MacMurray's children go to Stanwyck and politely ask her to back off. She does so, and MacMurray's wife Bennett, who's been out of town during all this, is none the wiser. In the original There's Always Tomorrow, the male and female leads (Frank Morgan and Binnie Barnes) were farther apart age-wise, making their brief encounter all the more poignant. ~ Hal Erickson, Rovi
- Starring:
- Barbara Stanwyck, Fred MacMurray, (more)
Perhaps the definitive Douglas Sirk production, Written on the Wind is based on the novel by Robert Wilder. The story revolves around the Hadleys, a wealthy but thoroughly debauched family of Texas oil millionaires. Robert Stack is self-destructive alcoholic Kyle Hadley, while Dorothy Malone won an Oscar for her equally vivid potrayal of Kyle's nymphomaniac sister Marylee. Kyle manages to win beautiful, level-headed advertising executive Lucy Moore (Lauren Bacall) away from his best friend, virile Hadley Oil geologist Mitch Wayne (Rock Hudson), but Lucy soon comes to regret her decision to marry into the hell-on-earth Hadley family. When Lucy becomes pregnant, Kyle assumes that Mitch is the father, leading to a maelstrom of fever-pitch emotionalism and stark tragedy. Before he quite knows what is happening, Mitch is on trial for murder; the one person who can clear him is the craven Marylee, who demands Mitch's sexual favors as the price for her testimony. ~ Hal Erickson, Rovi
- Starring:
- Rock Hudson, Lauren Bacall, (more)
- 1956
This emotional drama concerns a WWII medic who marries a German woman but leaves her in a jealous rage, taking their baby with him. They lose touch after she is arrested behind the Iron Curtain after the war. Eight years later, she sees him in a Chicago cafe, rushes across the street to see him, and is hit by a truck. He operates on her and saves her life, and they get back together. Eventually, the daughter accepts her mother, and the whole family is reunited. ~ Steve Huey, Rovi
- Starring:
- Rock Hudson, Cornell Borchers, (more)
Battle Hymn was inspired by the true story of American minister Dean Hess, played here with rare sensitivity by Rock Hudson. A bomber pilot during World War II, Hess inadvertently releases a bomb which destroys a German orphanage. Tortured by guilt, Hess relocates in Korea after the war to offer his services as a missionary. Combining the best elements of Christianity and Eastern spiritualism, Hess establishes a large home for orphans. The preacher's efforts are threatened when the Korean "police action" breaks out in 1950. Battle Hymn was one of several collaborations between Rock Hudson and director Douglas Sirk--though Sirk felt that Robert Stack would have been better suited to the role of Rev. Hess. ~ Hal Erickson, Rovi
- Starring:
- Rock Hudson, Anna Kashfi, (more)
- 1957
William Faulkner's novel Pylon was optioned by Universal producer Albert Zugsmith, who used it as the source for his 1957 production The Tarnished Angels. Robert Stack is a disillusioned World War One ace eking out a living as a barnstorming pilot/parachutist during the early 1930s. New Orleans newspaperman Rock Hudson runs across Stack at a two-bit carnival. He becomes fascinated with Stack's fall from grace, and latches onto him. As he is drawn into Stack's iconoclastic, individualistic lifestyle, Hudson finds he is also drawn to the pilot's long-suffering wife, Dorothy Malone. Jack Carson is on hand as Stack's chief mechanic, whose anger over the pilot's abusive treatment of Malone explodes into tragedy. ~ Hal Erickson, Rovi
- Starring:
- Rock Hudson, Robert Stack, (more)
- 1957
Like many of his best works, filmmaker Douglas Sirk's Interlude is a remake of an earlier Universal soap opera. In this case, Sirk's source material is the 1939 Irene Dunne-Charles Boyer vehicle When Tomorrow Comes. Based on a story by (of all people) James M. Cain, the story concerns the romance between aspiring musician Helen Banning (June Allyson) and famed symphony conductor Tonio Fischer (Rossano Brazzi). Alas, Tonio is married, and his bibulous, vindictive wife (Marianne Cook) isn't about to give him a divorce. Meanwhile, stiff-necked American doctor Morley Dwyer (Keith Andes) waits patiently for his sweetheart Helen to come to her senses and return to his arms. Opulently location-filmed in Austria, Interlude was remade under the same title in 1968. ~ Hal Erickson, Rovi
- Starring:
- June Allyson, Rossano Brazzi, (more)
- 1958
Douglas Sirk directed this doomed World War II love story, seen from the German side of the war, as filtered through a distinctly late-'50s Hollywood banality. The film is based on the novel by Erich Maria Remarque, the author of the classic World War I anti-war novel All Quiet On the Western Front -- and who makes a cameo appearance in the film as an elderly schoolteacher. The film stars John Gavin as Ernst Graber, a young Nazi soldier home on leave during the height of World War II. While on leave, he falls in love and marries Elizabeth Kruze (Lilo Pulver). With bombs falling all around the young couple, they set up house with a kindly old woman. Then Elizabeth becomes pregnant. But before Ernst can grasp the reality of his becoming a father, he is sent back to the war -- to fight the brutal battle along the Russian front. ~ Paul Brenner, Rovi
- Starring:
- John Gavin, Liselotte Pulver, (more)
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, Rovi
- Starring:
- Lana Turner, John Gavin, (more)
- 1965
In this comedy, an even-tempered fireman with a happily tepid life, finds his peaceful world disrupted when he becomes infatuated with the woman he saved from a burning building. ~ Sandra Brennan, Rovi
- Starring:
- Eugene Troobnick, Hermione Gingold, (more)
- 1986
Director Christian Blackwood has brought forth more than 40 documentaries in 25 years, most of them specializing in artists' and filmmakers' work and/or biographies. This docudrama represents a new approach and melds the single-minded adoration of one fan, Paul Seiler, with film clips and archival interviews with Swedish Zarah Leander, an actress from the 1930s, '40s, and '50s. She was a haunting chanteuse whose distinctive voice and great beauty captivated many during the era of the Third Reich. She ultimately left Germany for Stockholm in 1943, in spite of Goebbels attempts to keep her working in the Nazi film industry. In this fictionalized drama, Paul watches a documentary about her on television while he intermittently spills out his emotions and history as one of her most ardent fans. Paul became friends with the star and attended her recording sessions, held her hand when she got bad reviews, corresponded with her on a regular basis, and personally questions her ethics in refusing to face up to Nazi atrocities. His psychology, her own personality, and their interaction make for an intriguing and unusual docudrama. ~ Eleanor Mannikka, Rovi
- Starring:
- Zarah Leander, Margot Hielscher, (more)
- 1995
- Add A Personal Journey with Martin Scorsese through American Movies to Queue Add A Personal Journey with Martin Scorsese through American Movies to top of Queue
In 1994, the British Film Institute commissioned a set of films to mark the centenary of the movies. They would trace the history of several national cinemas, and the BFI's choice for interpreting the history of American film fell to director Martin Scorsese, a longtime champion of film history and preservation. Scorsese's approach to his subject is director-centered, as he examines the tension inherent in the struggle of an artist wishing to make a personal statement against the collaborative nature of films and the commercial pressures of the Hollywood moviemaking factory. Segments of this series are devoted to the director as storyteller (examining narrative devices in the Western, gangster film, and musical), illusionist (technical tricks), smuggler (imbedding personal messages), and iconoclast (bucking the system to make films his own way). The series is replete with telling clips, not just snippets or shots, but entire scenes which illustrate Scorsese and co-director Michael Henry Wilson's points. Other filmmakers, including John Ford, Francis Ford Coppola, Billy Wilder, and Orson Welles, are seen in archival footage or interviews created for the series, offering their own take on the art of filmmaking. Scorsese doesn't discriminate between filmmakers with glossy reputations and those who always worked on the fringe of public awareness. If anything, he goes out of his way to champion mavericks like Samuel Fuller whose "visceral cinema" never enjoyed box-office success or awards. Personal Journey was first shown on British TV, released in limited fashion to theaters in the United States, and shown here on TV as well. A tie-in book was published in 1997 by Miramax Books; it contains the entire script for the series, excellent black-and-white stills, and dialogue from some of the clips. ~ Tom Wiener, Rovi
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