Director:
Douglas SirkCámara:
Russell MettyReparto:
Lana Turner, John Gavin, Sandra Dee, Robert Alda, Susan Kohner, Dan O'Herlihy, Juanita Moore, Troy Donahue, Jack Weston, George Barrows, Ann Robinson (más)Streaming (1)
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Buscando a su hijita Susie (Terry Burnham), que se ha extraviado, Lora Meredith (Lana Turner), joven y bella viuda, tropieza con el fotógrafo Steve Archer (John Gavin), empeñado en tomar fotografías de Susie y de otra chiquilla, Sara Jane (Karin Dicker), que se halla con su madre Annie Johnson (Juanita Moore), una mujer de color de carácter afable. Lora es una actriz teatral que busca abrirse camino en Nueva York y, aunque su situación económica es muy precaria, da asilo en su casa a Annie y a su hija, con quién Susie se ha encariñado. Al día siguiente Lora consigue su primer trabajo apareciendo en el anuncio de un insecticida, y poco después una entrevista con el conocido agente teatral Allen Loomis (Robert Alda), quién le promete ayudarla en su carrera siempre y cuando se muestre amable con los empresarios y dramaturgos que se interesen por ella. Ante tales consejos, Lora abandona la oficina indignada. (Movistar+)
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Whereas a chamber ensemble was previously enough for Sirk, he brought a full symphony orchestra into his last American film. Imitation of Life is to classic melodrama roughly what The Searchers is to classic westerns. Crisis follows crisis, men dictate the roles women are supposed to play (sometimes literally), mothers suffer, daughters hate them, and bedposts are by far the most well-worn objects in bedrooms. If the film contains even more emblems of the genre, watching it becomes a health hazard. It is primarily a colourful textbook on how to use Hollywood style to deliver subversive messages (which resonate much longer than the explicit messages of thesis-based “films about problems”). Sirk supplemented the traditional dyad of class and gender incompatibility with the theme of racial differences. Whereas, thanks to career advancement, a white mother can give her daughter everything except maternal love, we can see in the relationship between a black mother and her daughter that the greatest maternal love is not enough in a socially unequal society. The first woman loses her daughter’s favour due to her own self-realisation; the extreme selflessness of the other woman, whose skin colour prevents her from achieving self-realisation, causes her daughter – who denies her own racial origin – to turn away from her. Both paths – career-focused and family-focused – are dead ends. Each storyline sceptically complements the other wherever a sign of hope appears. The result is a maximally disillusioning picture of a society that survives thanks only to a misguided perception of its own strength and invincibility. At the time, radical social changes, for which Imitation of Life could easily serve as a modest model in an alternate universe, were only a few years away. 90%
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Foto © Universal Pictures
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