Sirk was a German director whose distinctive style of film making made him the king of 1950’s melodrama. Never afraid to confront social issues, Sirk explored the dark side of suburbia in which conformity and image are everything. His films were often produced by Ross Hunter with cinematography by Russell Metty. Sirk’s influence can be seen in films and TV shows of today. Notably David Lynch’s work and Far From Heaven.
A relationship crossing class and age boundaries is the central theme of 1955’s All That Heaven Allows. Jane Wyman plays Cary Scott and Rock Hudson plays Ron Kirby. These two stars appeared in Magnificent Obsession a year earlier. A wealthy widow falls in love with her gardener, much to the dismay of her family and friends. Cary keeps the relationship a secret because she realises it’ll be frowned upon. Although her gossipy friends claim they want her to find happiness, it has to be with someone from her social circle. Following the unspoken rules of country club society and sticking to her own kind.
When Cary’s children Ned and Kay come home from university, she tells them she plans to marry. Their hypocrisy is exposed when she reveals her intended. Ron arrives for drinks and he’s met with a frosty reception and constant rude remarks. Ned basically disowns Cary, and Kay refuses to accept the relationship saying it will ruin their lives. Cary decides to break up with Ron, putting her life on hold due to her children’s unsupportive attitude.
Cary expects them home for Christmas but they’re delayed, leaving her to decorate the tree alone. Kay comes home with news of her engagement, and Ned is about to start his career abroad. They think the house should be sold as it’s too big for Cary. The penny drops, as Cary realises she has thrown away her future. Leading to the poignant moment where her children present her with a television set thinking it’s a wonderful and thoughtful gift. We see Cary’s sad reflection in the TV whilst it’s selling point’s described as “all the company you want”.
Cary knows she made a mistake, so sets about rekindling her relationship with Ron by visiting him. She can’t find him so turns to leave but he spots her from afar. In his hurry to talk to her, he falls off a steep incline. Cary’s notified about the accident and rushes to Ron’s side, where she watches over him until he regains consciousness. Cary’s stopped running away, she’s no longer afraid of love, life, or the judgement of others.
1959’s Imitation Of Life is a dramatic weepie tackling race. The star performance by (black) Juanita Moore as Annie Johnson makes this film. She delivers her lines with such sincerity and carries herself with a quiet dignity, elevating every scene she’s in. The basic plot is Annie becomes a housekeeper to a (white) actress after their daughters become friends at the beach. Annie’s daughter Sarah Jane is fair skinned and passes herself off as white. The film explores the increasingly complex relationships between both mothers and daughters.
From childhood Sarah Jane describes herself as white. No-one understands why she rejects her mother and denies her heritage. They think colour’s unimportant. As she grows up this belief intensifies. The moving part’s after Sarah Jane moves out and tells Annie she’s working in a library, but she’s actually singing in a cheap nightclub. Her employers don’t know she’s half black. Annie finds her and pleads with her to come home, but Sarah Jane walks away.
Later she writes to Annie instructing her to leave her alone. By now Annie’s terminally ill and she wants to hold her daughter once more. After investigations Sarah Jane’s located, so Annie flies out to say her goodbyes. Annie keeps her daughter’s secret by pretending she’s her mammy come to visit. When Annie returns home she’s confined to her bed. At this point she’s still listening to other people’s problems and giving words of wisdom! After the doctor says there’s nothing else they can do for Annie, she explains her living will and what she wants at her funeral. Sarah Jane arrives at the funeral unexpectedly. Forcing her way through the crowd of mourners, crying hysterically, throwing herself on Annie’s coffin asking for forgiveness. I defy you not to get choked up.
Written On The Wind was made in 1956. The opening flashback scene takes place over the credits. A man’s drinking and driving fast, then he stumbles into the house. A woman runs downstairs. There’re leaves blowing through the front door, a gunshot, a man walks out of the house and collapses, then a woman collapses in a bedroom. What pre-empted this scenario?
This film contains two seriously dysfunctional siblings; an alcoholic brother Kyle and promiscuous sister Marylee. Their father Jasper seems oblivious to these problems. The Hadley family’s wealth and power derives from the oil industry, the town’s named after them. Eventually the family’s destroyed, and father then son die.
Kyle feels inferior to his childhood friend Mitch who has a reliable character. Marylee has always been in love with Mitch but it’s unrequited. She causes trouble between Kyle and Mitch by suggesting Kyle’s wife Lucy has slept with Mitch. There are many phallic symbols throughout this film. After Kyle discovers he’s probably infertile, he walks past a boy vigorously riding a toy horse. Marylee inherits the family business, and sits at her father’s desk hugging a model oil well. Dressed demurely, she simultaneously has everything and nothing. It reminds me of our soap operas in the sense that these characters experience the full spectrum of human problems in a relatively short time, that we’d probably have in a lifetime.
Sirk’s films present us with a hyper sensitive version of reality. Underpinned by vivid colour and music, yet rooted in relatable issues.