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By Douglas Sirk style


Master

melodrama, key director fifties, the epitome of sublimation of artifice, Douglas Sirk is a cult director whose value season is closely associated with postmodernity.

The career of Germany and Denmark is long and eclectic.
fled the Nazis, Sirk was based in the United States in the mid-thirties, he changed the name and soon became impersonal Hollywood director.

His reputation as a filmmaker focuses on the films he made for Universal over the decade of the fifty.
Among them, the most famous and paradigmatic titles would be "Obsession", "Only Heaven Knows," "Written on the Wind" and "Imitation of Life."

are four glossy melodramas, terribly popular in his day.
were not well received by critics, were considered the perfect example of the anachronism of Hollywood and the crap of your audience.

At a time when so heated, in need of social dramas and new movies, stories appeared those decadent love, maternity and curtains. They would mourn
women, while the sensational story of consecrated as blockbusters.

They were called banal and artificial. Would lack twenty years for them cinephilia found grace, style and importance.

"Obsession" was the first film where Sirk completely broke, and was also responsible for stardom title of Rock Hudson.

told the story of a gay playboy , whose widow and blind recklessness makes a respectable lady.
Tragedy makes him seek redemption, as he falls for her, will become the only doctor in the world to regain his sight.

Rock Hudson and Jane Wyman repeat that chemistry impossible "Only Heaven Knows", which chronicled the scandalous affair between a middle-aged woman and her young gardener.

Hudson also be nominal protagonist of "Written on the Wind", oil portrait of the rich and bloody, emotional grandpa "Dynasty" and "Dallas."

Best of the function was Hadley reserved brothers, played by Robert Stack and Dorothy Malone; him impotent heir of long drinks, and her blonde nymphomaniac stations.

The last film of Douglas Sirk, the most watched and, without doubt, the best was called "Imitation of Life."

Lana Turner and Juanita Moore play two friends who, over the years, shared the sorrows and frustrations of motherhood.
"Imitation of Life" focuses on quickly to Sarah Jane racially confused girl with white skin and black mother, condemned to enter through the back door.
The mulatto rebellion begins early and end badly.

young European critics and directors would express his admiration for these titles in the late seventies, saying that the man behind the camera showed an intelligence far superior to what I was told.
Godard spoke of the frenzy of Cinemascope, Fassbinder defined "Imitation of Life" as the "cool and crazy movie about life, death and America."

Tarantino, Almodovar, Kar-wai, Waters and Haynes are among the many directors who have shown his admiration for the melodramas of Douglas Sirk, one way or another.

Within the status quo of the fifty U.S. , Sirk was a great irony, to even a secret subversive.
counted sexual repression with a sense of absurdity and racial segregation through shadow play.
And just enough to compare his films with other similar productions of the period, to demonstrate the stylistic distinction Sirk.

film Beyond the interest that you wish to attribute to sirkianos titles, the Fans not only have we been seduced by the forms and shadows, but for their impassioned arguments and the sheer excess spread.

Sirk

A cinephile can go for a visionary, but also hunting camp and mystification of trash. Seduce
arguably the decadent, served with a hallucinatory aesthetic, where the characters are expressive bundles of nerves, eyes and lips glazed cake.
Precisely for this reason, the films of Douglas Sirk can not love everyone.

style you can count sirkiano brainy studies, to decipher intentions and reveal stage effects.
But the real feelers for this film should also celebrate the popular charisma of the stories, were exciting and fascinating that remain.

That is, we love to mourn with "Imitation of Life," there is nothing more astounding than dancing the mambo Dorothy Malone in "Written on the Wind" no time so overwhelming that his lonely watching Jane Wyman reflection in the TV "Heaven Only Knows."

mannered feelings, the female cares and creams have never been cause for applause por la crítica ni serán apreciados jamás por la gente que se considera seria.
Pero, para nosotros, cualquier placer inconfesable siempre ha sido el más valioso.