IMITATION OF LIFE

The title song over the opening credits of this 1959 Douglas Sirk melodrama informs us that à life without love is just an 'imitation of life'.

Most obviously this description applies to the main character, Lora, played by Lana Turner, who at the start of the film is a struggling wannabe actress. Budding photographer Steve proposes marriage but makes the mistake of linking it to her giving up on her acting dreams. Big mistake!  She has a burning ambition to tread the boards, which means love in the form of a life with Steve is tossed aside. 

She of course goes on to become an incredibly successful star of the stage (it’s that sort of film) but there’s not much love in her life.  After the elapse of some ten years, and when we are getting towards the end of the film, she finally does decide to retire and marry Steve (somehow despite being handsome and becoming a successful advertising executive Steve has remained unattached in the meantime).

Turner, and John Gavin as Steve, turn in decent performances but their story arc is not the most gripping.

Fortunately, despite Turner being the biggest star on view the film has a much more interesting tale to tell, concerning Annie, a black maid / friend of Lora, and her mixed race daughter Sarah Jane.

Sarah Jane can "pass" as white, and once she reaches young adulthood she wants to advance in white society.  It being the 1950s the easiest way to do this is to effectively disown her mother, much to Annie's anguish.  It doesn't help their relationship that Annie is very religious whilst Sarah Jane's idea of pursuing her dreams is to perform half naked in various dodgy establishments. 

Juanita Moore as Annie and Susan Kohner as Sarah Jane both give memorable performances which earned them various nominations and awards.  Their relationship (and the film) builds to a moving climax with Annie’s death, followed by her funeral which includes a beautiful rendition of the song 'Trouble of the World' by gospel singer Mahalia Jackson.

This was the second adaptation of a 1933 novel, the first one coming out in 1934 to a more positive reception that this later one.

Whilst I can see why some critics were scornful of the soapiness of aspects of the picture there’s no denying its many virtues.  The dialogue and the interrelations feel natural and believable in the main part, and Sirk’s terrific visual style and eye for colour composition are a delight as always. 

Apparently the fact that Sarah Jane is the result of an interracial relationship caused a lot of problems in the making of the 1934 version, so it is to this film's credit that this is not skirted around.  I also appreciated that Lora and Steve (and Lora’s daughter) don’t seem to let Annie being black affect their relationships with her.  

So overall I found a lot to enjoy and commend in this entertainment.