The book was made into a Hollywood film in and It was the only Hollywood film of the s to view race as a serious issue.
The imitation of life by John M. Will the new version be as good as the original? Should it have even been made to begin with? While we do seem to hear more about this recently, the concept of a remark is, of course, nothing new.
Examples go back to the very dawn of cinema.
What makes a remake particularly worthwhile, however, is when the films involved are dissimilar in certain aspects yet notably congruent in other areas: If both versions have their merits, a considerate comparison and contrast can be a fascinating critical opportunity and enjoyable entertainment.
The two versions of this film both based on the novel by Fannie Hurst have their own respective strengths and weaknesses, with each encapsulating perfectly their years of production and each showcasing the talents of those involved with their creation.
Both films are presented in gorgeously remastered form, with each film containing a commentary track by a noted scholar. There is also Lasting Legacy—An Imitation of Life, a documentary exploring the shared history of the two movies and the insightful social statements they each made.
The version, though credited to writer William Hurlbut, had eight others contributing uncredited to its screenplay, including the great Preston Sturges. Delilah offers to work for no more than room and board for herself and her own young daughter, Peola. This begins a strong and lasting relationship between the white businesswoman and the African-American maid.
It turns out Delilah make great pancakes, and since Beatrice has the syrup, the two go into business together. Beatrice enlists Delilah to not only be her partner, but to literally be the face of the business, with her dotty The imitation of life adorning the image of their new pancake enterprise, which is spurred on by customer Elmer Smith the perpetually cranky Ned Sparks, a stalwart s actorwho offers up two simple words of advice: In a further scene that is repeated in the later version of Imitation of Life, Peola is embarrassed when her mother visits her class to drop off some wet weather clothing.
In many ways, this is the final straw for Peola, and it initiates a more determined quest to distance herself from her race and her mother. Ten years down the road, Beatrice and Delilah have made a tidy sum and the girls are grown.
Yet with enough money to presumably go her own way, Delilah remains naively loyal to Beatrice, even as they cruise along so-called easy street.
In the meantime, two distinct narratives develop, one concerning Beatrice and her business and romantic interests and one concerning Peola and her continued racial anxiety.
She is motivated and ambitious, perky and competent. She confidently drives a hard bargain when first renting the shop room and she makes no excuse for her enterprising ways, even if they conflict with her potential love life.
As the relationship between Beatrice and Stephen develops, his reticence toward his new girlfriend has a good deal to do with the fear of just such a capable businesswoman and her own individuality.
While undoubtedly dated, with black stereotypes that sit uncomfortably today, that this film would even attempt to confront the racial issues that it does should be admired. And that it explicitly calls attention to the unfair treatment of African-Americans in a variety of venues—and proceeds to condemn such prejudice—makes the film truly special.
She and her mother speak of race along the lines of blame or fault, a tragic way to somehow reconcile their unjust treatment because of their natural skin color. An additional drama that plays a part in later sequences involves a love triangle between mother and daughter and Stephen.
This subplot is rather shocking in itself, especially in its subtle reveal, but it is casually—and surprisingly—brushed aside.
Directing Imitation of Life was John Stahl, whose largely unassuming style here is crisp and clear and is essentially at the service of trying to contain Claudette Colbert, who is extraordinary.
This version of Imitation of Life successfully balances the role of a woman in an increasingly modern society with the conflicts concerning racial disharmony; its racial element is as socially profound as its sharp analysis of the struggles of a mother, lover, and professional.
This version of the story starts in Coney Island. This time, Lana Turner is Lora Meredith, the white female lead. She is again a distraught mother, having lost track of her daughter, Susie.
When she finds her, the girl has already met and befriended Annie Johnson Juanita Moore, in an Oscar-nominated performance and her daughter, Sarah Jane.
Apparently homeless, she is, in fact, desperate to do so. This begins a bond between the two women that is essentially the same as the film.
One key difference between the two movies is that now Lora is an aspiring actress, rather than a business woman, and she is confronted by multiple men of unreliable repute.
Her initial love interest is with Steve Archer John Gavina budding photographer. He, too, is an idealistic dreamer: But there is also Allen Loomis Robert Aldaa sleazy theatrical agent, equally ambitious and with his own shady motivations. Through it all, Steve is the comparably more decent companion, but even he is domineering, something that comes up against the career-minded Lora.
But there is, in general, a less demeaning presentation of Annie, though there is still no denying the troublesome notion of such blind obedience.In the chapter called Identity Development in Multiracial Families she writes that, "The stereotype of the `tragic mulatto' - as portrayed in the classic film Imitation of Life, for example - .
Imitation of Life is a American drama film directed by John M. Stahl. The screenplay by William Hurlbut, based on Fannie Hurst's novel of the same name, was augmented by eight additional uncredited writers, including Preston Sturges and Finley Peter Dunne.
Imitation Of Life Description: Since the husband';s death, Bea Pullman and her daughter Jessie have had a difficult time making ends meet.
Delilah Johnson agrees to be the housekeeper of Bea in exchange for a place for her and her daughter Peola. Imitation of Life is a American romantic drama film directed by Douglas Sirk, produced by Ross Hunter and released by Universal regardbouddhiste.com was Sirk's final Hollywood film and dealt with issues of race, class and gender.
Imitation of Life is the second film adaptation of Fannie Hurst's novel of the same name; the first, directed by John M. Stahl, was released in "Imitation of Life" is a song by R.E.M., the first single released from their twelfth album, Reveal in The song peaked at #83 on the Billboard Hot (but reached #22 on the U.S.
Modern Rock list). Imitation of life Like a koi in a frozen pond Like a goldfish in a bowl I don't want to hear you cry That's sugarcane that tasted good That's cinnamon, that's Hollywood C'mon, c'mon no one can see you try You want the greatest thing The greatest thing since bread came sliced.