Imitation of Life

Plot synopsis:
In 1947, widow Lora Meredith (Lana Turner) dreams of becoming a famous Broadway actress. Losing track of her young daughter Susie at the beach (portrayed as a child by Terry Burnham), she asks a stranger named Steve Archer (John Gavin) to help her find the girl. Susie is found and looked after by Annie Johnson (Juanita Moore), a black single mother who also has a daughter, Sarah Jane (portrayed as a child by Karin Dicker), who is about Susie's age. Sarah Jane inherited her father's fair skin and can pass for white. She does this with fierce zeal and fervor, taking advantage of her European heritage and features. In return for Annie's kindness, Lora temporarily takes in Annie and her daughter. Annie persuades Lora to let her stay and look after the household, so that the widow can pursue an acting career.
With struggles along the way, Lora becomes a star of stage comedies, with Allen Loomis (Robert Alda) as her agent and David Edwards (Dan O'Herlihy) as her chief playwright. Although Lora had begun a relationship with Steve Archer, the stranger she met at the beach, their courtship falls apart because he does not want her to be a star. Lora's concentration on her career prevents her from spending time with her daughter, who sees more of Annie. Annie and Sarah Jane have their own problems, as Sarah Jane is struggling with her African-American identity and wants to pass for white because of its privileges in American society in the pre-civil rights era.
Eleven years later, in 1958, Lora is a highly regarded Broadway star living in a luxurious home in New York. Annie continues to live with her, serving as nanny, housekeeper, confidante and best friend. After rejecting David's latest script (and his marriage proposal), Lora takes a role in a dramatic play. At the show's after-party, she meets Steve, whom she has not seen in a decade. The two slowly begin rekindling their relationship, and Steve is reintroduced to Annie and the now-teenaged Susie (Sandra Dee) and Sarah Jane (Susan Kohner). When Lora is signed to star in an Italian motion picture, she leaves Steve to watch after Susie. The teenager develops an unrequited crush on her mother's boyfriend.
Sarah Jane continues to pass as white and begins dating a white boy (Troy Donahue). He beats her in an alleyway after learning she is black. Some time later, she again passes for white to get a job performing at a seedy nightclub, but tells her mother she is working at the library. When Annie learns the truth, she goes to the club to claim her daughter; Sarah Jane is fired. Her rejection of her mother begins taking a physical and mental toll on Annie. When Lora returns from Italy, Sarah Jane has run away from home. She asks Steve to hire a detective to find her. The detective locates Sarah Jane in California, living as a white woman under an assumed name and working as a chorus girl. Annie, becoming weaker and more depressed by the day, flies out to California to see her daughter one last time and say goodbye.
Annie is bedridden upon her return to New York, and Lora and Susie look after her. The issue of Susie's crush on Steve becomes serious when Susie learns that Steve and Lora are to be married. Annie tells Lora of the girl's crush. After a confrontation with her mother, Susie decides to go away to school in Denver, Colorado, to forget about Steve. Not long after Susie leaves, Annie passes away. As she wished, Annie is given a lavish funeral in a large church, complete with a gospel choir, followed by an elaborate traditional funeral procession with brass band and horse-drawn hearse. Just before the procession sets off, Sarah Jane pushes through the crowd of mourners to throw herself upon her mother's casket, begging forgiveness. Lora takes Sarah Jane to their limousine to join her, Susie, and Steve as the procession slowly travels through the city.

Tags: romantic, melodrama

Review:
A black mother worries that her light skinned daughter will have only an IMITATION OF LIFE if she continually tries to pass for white.Let it be stated unequivocally that this is one of the most remarkable films of the 1930's - unique in that it deals squarely with aspects of the racial question decades before it became common to do so.
After becoming accustomed to the casual racism of most Hollywood movies of the era, this honesty is quite astonishing.As the black mother, Louise Beavers is heartbreaking in the simple power of her performance.
His involvement is a definite asset to the film.The rest of the cast adds to the overall excellence of the production: acerbic Ned Sparks as Miss Colbert's business manager; lovely Rochelle Hudson as her ready-for-love daughter; Henry Armentta & Alan Hale as businessmen cajoled by Miss Colbert's charms; and especially Fredi Washington, memorable as Miss Beavers' daughter, a stranger inside her own skin.Movie mavens will spot Clarence Wilson as the pancake shop's landlord, Franklin Pangborn as a party guest & Paul Porcasi as a restaurant manager, all uncredited.IMITATION OF LIFE preached a powerful sermon on racial justice & equality, but the Hollywood congregation was not paying attention.
My motivation for responding is due to an earlier opinion on this movie, specifically: "the central character of Delilah is the worst kind of racial stereotype; a relentlessly cheerful mammy, perfectly satisfied to spend her life tending to the needs of her white employer".
It's a well written and developed character study about two mothers, one white, the other black, who bond a lasting friendship throughout the years while their daughters, both friends, try to face the facts of life, with one in particular, having problems with her imitation of life.
The story begins with Beatrice Pullman (Claudette Colbert), a recently widowed mother, giving her tottler, Jessie (played by Baby Jane, who became better known later Juanita Quigley), a bath while the child is asking for her "quack quack," a toy duck.
With success comes problems: Bea meets and falls in love with Steven Archer (Warren William), but their relationship is complicated when Bea's 18-year-old daughter (Rochelle Hudson) falls in love with him also; and Delilah's grown-up daughter, Peola (Fredi Washington), becomes resentful of the world of segregation, denying both her heritage and mother while trying to pass as a white girl, thus, breaking her mother's heart.Overly sentimental drama about mother love to be sure, but this version of "Imitation of Life" succeeds in many ways.
"Imitation of Life" did get the honor of a Best Picture nomination, losing to Colbert's other 1934 release, "It Happened One Night," a comedy.Universal remade "Imitation of Life" in 1959 starring Lana Turner, John Gavin, Sandra Dee, Juanita Moore and Susan Kohner in the Colbert, William, Hudson, Beavers and Washington roles.
The only problem with the remake that makes the original appear more honest is the use of Susan Kohner, a white actress who gave an fine performance, playing a light-skin "colored" girl instead of the use of an actual light-skinned black actress, thus, ruining the whole purpose to the story.To see "Imitation of Life" of 1934 is to accept it for what it really is, a 1930s "soap opera" about mother love.
This Bea Pullman is easier to take because the way she makes her money by going into business, capitalizing on Delilah's idea about the marketing the perfect blend for pancakes.Warren William plays Steve Archer, the man who falls in love with Bea while not suspecting the effect he causes in young Jessie, Bea's daughter.
Louise Beavers is Delilah; she is made to speak broken English to show her ignorance, which was the thing expected every time black characters were shown in movies of that period.
While "Imitation of Life" centers around the business created by two women, one black and one white, it also take a hard look at the struggles minorities face -- something very rarely seen on the big screen at that time.
The remake represents a slicker Hollywood formulaic version, yet, I really liked Juanita Moore's heartfelt performance in the 1959 version.Some may find it was hard to believe that a Beatrice (Cobert) in the 30's could make money from a Delilah's (Beavers) secret recipe.
The two intertwined tales of personal struggle create a window into the world of the 30's social constructs to engage a whole new audience in their complexities.Bea Pullman (Claudette Colbert) becomes a single mother to her daughter Jessie (Rochelle Hudson) after the death of her husband.
Mother-daughter relationships are difficult enough to navigate, Imitation of Life goes to show that this is an age-old difficulty made no easier by also having to deal with death, racial tensions, and heartache along the way.If you're an old film lover like me, this film will you why you are.
(By the way, for an insider look on this, read the extraordinary 1929 short novel, "Passing," by Nella Larsen.) The story for "Imitation of Life" is written by a white (Jewish) woman (Fanny Hurst) and is clearly taking up the broad themes of the depression.
Most interesting, though, is that the daughter passing for white is played here by a black actress, whereas in the version almost three decades later the character is taken by a Caucasian.In many ways, the truly heartbreaking story of Louise Beavers's character's love for her conflicted daughter is like something from a "race picture." It has a feel of authenticity.Ms. Beavers looks very pretty, though she is heavy.
It's a shame that in her big scenes, the camera is focused on Claudette Colbert or Rochelle Hudson -- the white mother and daughter in the considerably less interesting intertwining plot.Colbert looks good, though this was a little before she had hit on her trademark look with bangs.
The scenes in which Beavers massages her feet seem a little risqué, intentionally or otherwise.My mother, who was a child when this came out, used to talk about seeing this several times and crying each time.And speaking of children, the opening scenes in which the daughter is an ostensibly adorable child and Colbert addressees her comments about her wanting her "quack-quack," it's hard not to think of the scene in "Midnight," a later and different but far better movie, in which Colbert speaks on the phone to her nonexistent little daughter's illness, with John Barrymore speaking in falsetto about a hangover at the other end.Frerdi Washington, as Beavers's daughter who is passing for white, is lovely.
Like A Star is Born, the story of Imitation of Life is inherently moving: a white woman befriends a black woman, who has a pale-skinned daughter that unbeknown to her mother has been passing for white.
Bea(Claudette Colbert) is a single mother who fortuitously bumps into good-hearted Delilah (Louise Beavers), who is willing to forgo a salary in order to simply have a loving home.
Delilah's pale daughter Peola (teenage version played by Fredi Washington) refuses to accept her racial identity and the low social status that Delilah willingly takes.The race question is not explored as deeply in the original because of the constraints of the era in which it was made, so unfortunately Fredi Washington does not have enough screen time.
I much prefer this original version from 1934, starring Claudette Colbert as Bea Pullman, the single mom, who meets up with Louise Beavers as Delilah Johnson.
Both stories are about a women's sacrifice.One day before World War I, Louise Beavers comes looking for domestic work and gets the wrong address and comes knocking on Claudette Colbert's door.
Although her contribution to Bea's phenomenally successful pancakes business is more than useful,all that she wants is a beautiful funeral.Her daughter Peola disowns her ,because she does not want to pass for black.Melodrama has always been somewhat reactionary(and I love melodrama): the 1934 black woman will get pie in the sky,but on the good old Earth,she knows her place:owning a house ,being considered by Bea as an associate eludes her.And however Bea , a liberal woman (wonderfully played by Claudette Colbert ,far superior to Lana Turner in Sirk's remake) really loves Delilah,who is not a servant to her.This black and white version is much closer to Fanny Hurst's novel.The 1959 remake made Bea a star and the biggest mistake was to cast a white actress as Sarah-Jane (Peola).Her mother's name changed too:it became "Annie" .However ,it is hard to tell which version is the best.As I already wrote ,Lana Turner was not an improvement on Claudette Colbert ,and the relationship between the two widows is more touching in the 1934 version.The scene of the pancakes ,although very down-to-earth , wonderfully depicts the rapport they have.And being a business woman ,particularly in the thirties ("They bottled Coca Cola.Do the same for your flour!
Box It!),is certainly more challenging for a woman than to be a star.In an interview,Fanny Hurst told that she thought that a woman should occupy the same posts as a man;but she added that it took her twice a man's courage to make half of the way.The main problem in Stahl's versions is the two plots.Male characters are definitely uninteresting and the love affair Jessie /mom's squeeze pales next to Delilah/Peola scenes.Douglas Sirk,in 1959, succeeded in combining the two stories ,although,once more,it's Annie and Sarah Jane the audience remembers.The funeral is more grandiose,more impressive in the color version too.Both versions have their qualities .You should see them one after the other and make up your mind..
Nominated for Best Picture of the year by the Academy, it features the beautiful Claudette Colbert, as a struggling woman who teams with her friend (played by Louise Beavers) to succeed with a pancake recipe and using her "Aunt Jemima-like" likeness.However, conflicts arise as the women age and their children (played by Rochelle Hudson and Fredi Washington, respectively) grow up.
The women struggle with their grown up children: Beavers with her light colored daughter (Fredi Washington) who wishes she were "white", Colbert with her daughter's (Rochelle Hudson) puppy love for her boyfriend William.Added to the National Film Registry in 2005, it was later remade in 1959 by director Douglas Sirk with actresses Lana Turner and Juanita Moore (Sandra Dee and Susan Kohner, respectively, play their grown- up daughters)..
However, the maid struggles continually with her light-skinned daughter who yearns to 'pass' as a white woman due to the opportunities it presents.To give an idea of where I'm coming from with my comments on this film allow me to state that I'm a white male, 31 years of age.
The movie's impact transcends age, sex & race since it's ultimately about the universal theme of parent-sibling relationships.In the end, while the acting and script show some imperfections and the direction isn't particularly impressive I'd have to say that "Imitation of Life" is a success as a film.
This great film also deserves a Musical Review if that's all right with Tom Jones....Early one morning, Miss Bea labors bathing her daughter / Jessie the Baby must go off to day nursery / Bea was a widow / Peddling her syrup to purchase her daughter fine things.There at the door of the kitchen knocks a poor mother / Willing to work menial task to provide room and board / For her young daughter / Light like her father who took off to run his own way.Please, don't sigh, Delilah / Fry, fry, fry, Delilah / She would watch Jessie all day / Content to do much with slight pay / And cook up some pancakes to send Bea along on her way.Five years soon pass, and the bills are paid up at the restaurant / Rain on the boardwalk keeps customers staying away / Enter poor Elmer / For two stacks of pancakes, he'll gladly soon make it all pay.Meanwhile, Peola is passing for White in the third grade / Storm's coming down, and she'll soak without boots and her coat / Here comes Delilah / Claiming Peola, and giving her cover away.Cry, cry, cry, Peola / Why, why, why, Peola?
Fannie Hurst's tear jerking 1933 novel about the sacrifices mothers make for their daughters spawned two popular movies separated by a quarter century of glacially-changing social attitudes - a highly regarded 1934 version that remains faithful to the book's narrative and an elaborate 1959 remake which changes certain plot details to service German-born filmmaker Douglas Sirk's heavily Baroque style of film-making.
Far more seriously, Peola runs away to escape her black identity and puts Delilah into an emotional tailspin.In the same year she made "It Happened One Night" and DeMille's "Cleopatra", Claudette Colbert shows her trademark natural élan which allows her to be the emotional gravitational force her character Beatrice requires her to be.
The original version of the story many people probably know better as the Douglas Sirk weepie from 1959 starring Lana Turner.Kudos to the 1934 "Imitation of Life" for giving movie audiences a fairly progressive story about two women, one white (Claudette Colbert) and one black (Louise Beavers), who go into business together without a man in sight.
Subplots find Beavers' daughter passing for white and disowning her black mother and heritage while Colbert's daughter moons over her mom's new love interest (Warren William).
The Sirk version corrected that somewhat and made the two story lines far more equal.I don't know what to think about "Imitation of Life." Should I commend it for trying to show positive images of black people at a time when those were hard to come by, and to suggest that blacks can and should be proud of their heritage?
Forever, I claimed the Lana Turner version as one of my favorite movies until I saw the original classic done in1934 with Claudette Colbert, handsome Warren Williams and Louise Beaver playing Delilah Johnson.The dedication and loyalty Ms. Beaver showed for her employer was so genuine and touching but, on the flip side, it also showed how naive she was about securing her own future.
The movie skips ahead years later when Beavers' daughter (Fredi Washington) is trying to pass herself off as white...and things go out of control.This is important as one of the first movies to deal honestly with racism and the self-hatred of fair-skinned black people.
Having seen the 1954 remake first with Lana Turner and Mahalia Jackson sining, I can definitely understand why the plot was changed away from "Aunt Delilah's pancake mix" in the original "Imitation of Life."I couldn't believe it when I saw the original.
A radiant Claudette Colbert stars in this first version of "Imitation of Life" along with Louise Beavers.
William is another interesting artifact of the time, the mustached, elegant leading man in the tradition of John Gilbert that went out of style eventually.In real life, the beautiful black actress, Fredi Washington, who played Peola, refused to "pass" and lost out on a huge career, as she was told by producers that, if she passed for white, her star would shine as bright as the biggest stars of the day.
As written, the central character of Delilah is the worst kind of racial stereotype; a relentlessly cheerful mammy, perfectly satisfied to spend her life tending to the needs of her white employer (Claudette Colbert).
Whenever there has been a movie about a black person "passing" for white to enjoy a better life, the character is punished for being duplicitous.
Louise Beavers' character Delilah, played up so well to Hollywood's stereotypes of black women.
Representing the struggle that Peola has with a black mother is way ahead of its time but that isn't enough to call it a great film.Beavers was excellent but unbelievable that she wouldn't want a share of the company her recipe created.
The primary plot threads involve Delilah's (Louise Beaver) daughter, Peola, who is mixed race and hates her "blackness," and an ichthyologist who Bea (Claudette Colbert) and her daughter both fall in love with.
It's really a shame that Hurst had Colbert taking advantage of the Beavers character by offering her only a 20% share of the business.I never believed that the daughter was ashamed of being black, rather, she was angry at the fact that black people did not have the same opportunities as whites.The scene in the classroom and that funeral will forever tug at your heart..
Her daughter Peola, played by Fredi Washington, is light-skinned, and wants to 'pass' as white.
You have Fredi Washington, a light-skinned African-American actress (who in real life disdained 'passing') hired to play the role of Peola, when it was much more common to hire whites.
Forgetting the idea of inter-racial economic cooperation and money making, the idea that a white and a black woman could become close is not totally impossible, and the issues of the problems both women have with their daughters are still relevant.Claudette Colbert (Bea Pullman) and her daughter Rochelle Hudson (Jessie) find that they become rivals for Warren Williams (Steve Archer).
I also admire it because when it comes to race, the film is WAY, WAY ahead of its time.Claudette Colbert and Louise Beavers star as single parents struggling to raise their daughters.
Claudette Colbert (playing Beatrice, in her third film this year) teams with Louise Beavers (as Delilah) in an absorbing drama about two very different single moms, their daughters, their successful pancake business, and a lifetime of friendship.
At the center of the movie is the relationship between Delilah and her light-skinned daughter Peola (played by Fredi Washington as an adult, in pretty much the role she was born to play).
Delilah's daughter Peola (Fredi Washington as a teenager) is a mulatto, and deals with alienation at trying to relate to her black mother but preferring to pass as white.
Anyway with that out of the way, I found this movie interesting with the relationship between Claudette Colbert and Louise Beavers being nearly equal as being more friends as opposed to boss/employee even though Delilah kept calling Bea, Miss Bea, to the end of her days.