Hollywood Keeps Churning Out Stylized Updates That Miss The Mark
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Film melodrama comes in many variations, but director Douglas Sirk's style of domestic melodrama is marked by stylized interiors and use of mirrors, where the role of photography is crucial, with exquisite use of primary colors and camera angles to convey emotion and mood. During the 1950s, the Universal team of Sirk, producers Ross Hunter and Albert Zugsmith, cinematographer Russell Metty and composer Frank Skinner, released a series of glossy, often deliriously flamboyant \"women's picture\" melodramas, including \"All That Heaven Allows,\" \"Magnificent Obsession,\" \"Written on the Wind\" and \"Imitation of Life.\" The often-lurid plots in these films may have seemed laughable and unrealistic, but the emotional impact on audiences packed a wallop that led to major box-office bonanzas for Universal. Sirk's last American film, \"Imitation of Life,\" is based on the Fannie Hurst novel about two mothers (one white and one African-American) and their daughters (one white and one who wishes to pass for white). Sirk's 1959 version (with Lana Turner and Juanita Moore as the mothers) offers a telling contrast to the more restrained melodramatic style used by John Stahl in the 1934 version (previously selected for the registry), starring Claudette Colbert and Louise Beavers. One can also spot in Sirk's film fascinating glimpses at the evolving social standards and mores the country had undergone in the 25 years that elapsed between the two films, particularly in the characters of Moore and her daughter Susan Kohner. However, New York Times reviewers did not note much difference in the two versions. The paper's 1934 reviewer called the film \"the most shameless tearjerker of the fall\" while Bosley Crowther's 1959 review proved little different: \"It is the most shameless tearjerker in a couple of years.\" Sirk's version ends with Mahalia Jackson singing \"Trouble of the World\" during the penultimate funeral scene and daughter Susan Kohner begging forgiveness while hugging her dead mother's casket.Expanded essay by Matthew Kennedy (PDF, 761KB)
PROPS TABLETable in convenient offstage area on which properties are prepared prior to a performance and to which they should be returned after use. The table is usually marked out with a grid around each item, so it's easy to see when something is missing, and to do preshow checks that everything is ready to use. The preparation and checking of the props tables is the responsibility of the ASM (Assistant Stage Manager). 153554b96e
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