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Although puny known today, in her absorb era author Fannie Hurst was among America’s most well-known authors, a writer who frequently challenged the area quo in both her life and her literature. Among her most accepted works was the original IMITATION OF LIFE, which first came to the hide starring Claudette Colbert and Louise Beavers in 1934. Today both the unique 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 diagram that few novels and fewer calm films of the era dared.

The first film version was as faithful to the original as it dared be, telling the tale of two single mothers–one gloomy, one white–who join forces and hit the expansive 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 dim friend slack 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 positive stylistic statement: gallons of gloss, more soap suds than a sink fleshy of dishes, and enough grievous 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 manufacture their mothers lives a living hell, with Lana’s daughter Sandra falling in worship with her mother’s beau and Juanita’s daughter Susan clear 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 exact surprises here are Moore and Kohner. Saddled with a fable that quiet keeps the dark 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 diagram as the wayward daughter who makes one dreadful choice after another in her refusal to knuckle under to a repressive society. It is a spacious 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 account should compose abundantly definite.

The recent new and film were actually advanced for their time, but by the time this version hit the camouflage the “white lady upstairs and the sunless 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 fabulous watchablity of the film. We may sneer at some of the values it presents, but it holds our attention all the scheme, 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 microscopic contrast 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 catch to go with a obscene cost VHS until a really generous DVD is released.

Imitation of Life is a movie that had perfect timing in the changing world of 1950’s Americana.

The oppression of correct 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 well-behaved enough because of her unlit 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 abet doors. She wants more, and as a `white woman’ she can score it. Many viewers who inspect this film will be enraged at Sara Jane, however, one must remember that ‘black’ was not yet ravishing, 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 reply abundantly determined 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 hurry 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 terrible. The transfer is down correct 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 achieve 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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