lana turner

Imitation of Life (1959)

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Imitation of Life is a weird document. All That Heaven Allows lives and dies based upon your investment in the happiness of its lead character, and Written on the Wind is a narrative about a wealthy American family in slow decline, rent asunder by internal forces of jealousy, desperation for approval, and poor parental love; both are also shot in glorious Technicolor. Imitation of Life, on the other hand, was marketed in much the same way as Heaven, namely that it was supposedly a romantic picture about a widow finding love again, but that narrative is by far the least interesting thing about the film. What it turns out to be instead is an unexpectedly heartbreaking story about a family that is torn apart by societal forces that even an abundance of motherly love can’t overcome, with the emergence of a new theatre star as the supposed primary plot of the film while actually serving as the background to a much more interesting story. 

Lora Meredith (Lana Turner) loses her daughter, Susie, at Coney Island one day, then finds her in the company of another girl, Sarah Jane. Lora, delighted, meets who she first assumes is Sarah Jane’s nanny, Annie Johnson (Juanita Moore), but learns that Annie is actually Sarah Jane’s mother. Annie describes her late husband as having been “close to white” and that Sarah Jane takes after him, rather than Annie. Upon discovering that Annie and her daughter are essentially homeless, she takes them into her apartment, as there is an extra room off of the kitchen (a common feature of the time, as Lora is essentially putting them up in the maid’s quarters, and their placement there is not an accident). The supposed A-plot features Lora seeking to make it as a star onstage in the big city; she successfully bluffs her way into the office of talent agent Allen Loomis (Robert Alda) and gets an invitation to a party that same evening where all the movers and shakers will be. When it turns out that this is a prelude to a casting couch situation, she leaves in an understandable huff, although this is all forgiven when Loomis ends up becoming her agent regardless. He gets her an audition for the latest play by David Edwards (Dan O’Herlihy), and when she stands up to him about a scene not working as written, he’s likewise impressed with her moxy and gives her an even bigger part. This is counterposed with her budding romance with Steve Archer, a photographer whom she met that fateful day at the beach; he took a photo of the girls balancing an empty can on a sleeping man’s stomach that day and eventually sold it for use in advertisements for beer. (Incidentally, Steve is played by John Gavin, who you may remember as Marion Crane’s afternoon delight stud-muffin in Psycho; try not to let his character being named Sam Loomis there while his character here is romantic rivals with a different Loomis confuse you.) Steve and Lora grow closer until he finally proposes, but his insistence that she give up her career is a non-starter. 

All throughout, the film focuses on Annie and her relationship with her daughter, who is clearly struggling under the weight of her Black identity. When she and her mother first arrive at the Merediths’, Susie tries to give Sarah Jane her newest and most prized doll, which happens to be Black, causing Sarah Jane to resent the younger girl’s innocent insensitivity. When Annie is telling the story of Mary and Joseph’s trip to Bethlehem at Christmas time, Sarah Jane asks what color Jesus was. Lora tells her that Jesus is whatever color one imagines him to be, and Sarah Jane protests that this can’t be the case since they are being taught he was a real person. Finally, she says “Jesus was white. Like me.” Things really come to a head, however, when Annie comes to Sarah Jane’s school to bring her lunch and learns that her daughter has been passing as white among her peers and the teachers, and the realization among her classmates when they learn the truth bears out much of Sarah Jane’s fears about exposure and the mistreatment she can expect because of the racism of the society in which she lives. When I started that last sentence, when I got to the end of it, I had to rethink my initial plan to conclude that Sarah Jane is mistreated “because of the color of her skin,” because that’s exactly the opposite of what’s happening. Sarah Jane is being treated fairly because of her apparent whiteness, and injustice and unfairness enters into the equation when a white supremacist society inexorably forces its way into these dynamics. Annie laments that her heart breaks because she can’t explain to the daughter that she adores why reality is so unfair, because Sarah Jane was “born to be hurt” by the world because of no fault of her own. 

Things are even worse for Sarah Jane when there’s a time jump from 1947 to 1958, the passage of time represented by continuously superimposed images of Lora’s name on various marquees and the accompanying year. Her newfound wealth has afforded them a manse in the countryside, where Annie and Sarah Jane (Susan Kohner) continue to live with Lora and Susie (Sandra Dee). It’s unclear what exactly Annie’s role in this new house is, as there are other servants now. A charitable read of the situation is that Lora and Annie have essentially been coparenting both of the girls since Annie and her daughter first came into the Meredith household, with Lora in the breadwinner role and Annie as the housewife, but even if that’s what’s happening here, it ignores all of the power dynamics at play. It’s also clear that Lora has been paying Annie in addition to housing her, as Annie mentions having saved up enough to send Sarah Jane to college. I’m not sure, but how you read this situation can have a lot of bearing on how you feel about its participants. If we choose to read Annie as co-head of household, as she’s mostly treated, then her oversight of the house and meals feels a little funny but isn’t ultimately demeaning. If we choose to read that the relationship between Annie and Lora has changed from being two women trying to make it in the big city together to one that feels familial but is nonetheless employer-employee, then Lora becomes much less sympathetic. My ultimate reading boils down to how Lora reacts when the two are parted by death, and that although she truly loved Annie and considered her a partner in life and not a servant, she nonetheless found herself occasionally acting in the patronizing manner of the era despite her affection and devotion. 

Sarah Jane, for her part, is having a rough go of things, continuing to seek inroads to the life of privilege to which she feels entitled and which her perceived whiteness gives her just enough ingress to see how things are on the other side. This reaches a point of harrowing violence, when she goes to meet up with the boy who’s talked about running away together and getting married, only to find him sullen and unable to look her directly in the eye. He demands to know if what he’s learned—that Annie is her mother and that Sarah Jane is Black—is true. Sarah Jane denies it, but he nonetheless beats her savagely. Meanwhile, she’s having to deal with all of Susie’s stories about finishing school and watching her not-quite-sister get a pony as a graduation gift; to get out, she claims to be working at the NYC library, but Annie discovers she is actually working as a sort of sexy lounge singer where men leer at her, and when Annie’s appearance once again outs her as non-white, she loses the job. This prompts her to flee even further, finally ending up as a chorus girl out west, but when Annie comes to see her one last time, she tells Sarah Jane that she has come to say that she won’t chase her anymore, and that she loves her daughter enough to accept her choices. When one of the other chorus girls finds them together, Annie pretends to be no more than Sarah Jane’s old nanny in order to preserve her daughter’s concealment of her true identity. 

It’s this that serves as the film’s climax. Sure, there are other things going on. Lora and Susie are distant because Lora always put her career first. Steve re-enters the picture, and he and Lora make plans to travel together and get to know one another again that she immediately reneges upon when offered a part in a new film from an Italian art director. Steve keeps Susie busy that summer and she falls madly in love with him (who wouldn’t?). Susie tells her mother to just be with Steve, and they get together. All seems kind of rote and pale in comparison to what’s happening with Annie, doesn’t it? That’s clearly intentional, and even though there’s a kind of going-through-the-motions energy of everything happening with the Merediths, I was never bored by any of it. Everything happening with Annie just overpowers it, as she ultimately succumbs to (perhaps literally) a broken heart from losing her daughter, spiritually if not literally. Her funeral service features a performance of “Trouble of the World” from Mahalia Jackson, and it’s beautiful. 

In many ways, this is one of director Douglas Sirk’s finest hours. Annie’s story is beautiful, thoughtful, and tender, while Lora’s is perfectly serviceable. It may be that the DVD I saw of this didn’t have a very colorful transfer, but where this one is lacking is in its visual panache. You can almost feel the chill of the blue snow in All that Heaven Allows, but the colors here seem muted, although that may be due to the fact that this was a Eastmancolor production, not a Technicolor one. Susie’s room in the country manse stands out for this reason, as her bubblegum pink room should really pop, but it feels rather dull. Infamously, a publicity stunt surrounding this film was that half of its two-million-dollar budget was spent entirely on Lana Turner’s wardrobe, and while there are many fine pieces, it feels like they’re lacking in some razzle dazzle that one of Sirk’s other pictures would have more effectively conveyed. There are also some places where the narrative seams are less than flush. For instance, the extended sequence of Sarah Jane doing a musical number at the NYC club seems to be a leftover sequence from when the film was conceived as a musical. Both Steve (demanding that Lora forsake the stage in 1947) and Susie (realizing that her infatuation with Steve is childish and relinquishing her mother of any guilt in pursuing him in 1958) make decisions that feel more narratively convenient than true to the characters. Nonetheless, this one is definitely a contender for Sirk’s greatest work.

-Mark “Boomer” Redmond

Bonus Features: Peyton Place (1957)

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Our current Movie of the Month, 1957’s Peyton Place, is a sprawling epic of small-town scandal & melodrama.  It’s essentially Douglas Sirk’s “Harper Valley PTA”, an exquisite illustration of lowly gossip & pulp.  Since its source-material novel was essentially the Fifty Shades of its time, its major-studio adaptation had to put on an air of arty prestige & high-minded sexual education to justify the indulgence.  The sex education aspect is loudly pronounced, advocating for healthy sexual habits to be openly discussed and taught in schools, since the small-town sex shaming of all “dirty talk” is what causes heartbreak & tragedy in its doomed characters’ lives.  Prestige is a much trickier quality to signal to the audience, something the film prompts in its sweeping shots of artificial woodland vistas and soaring melodramatic strings.  It also signals prestige in the casting of Lana Turner as its biggest-name star, prominently advertising her performance over much meatier roles for the teens-in-crisis beneath her.  When Peyton Place hit theaters, Turner was a glamorous movie star that afforded the film an air of legitimacy. A year later, an act of domestic violence in which her daughter stabbed a mobster boyfriend in her family home would make her a magnet for tabloid scandal, dragging Turner down to the movie’s true gossipy nature.

Getting a sense of where Peyton Place fits within the restrictions & subversions of Old Hollywood’s final hours means getting familiar with how Lana Turner was understood & adored as an Old Hollywood movie star.  So, here are a few recommended titles if you enjoyed our Movie of the Month and want to bask in more of her Studio Era glamour.

The Postman Always Rings Twice (1946)

Since every other title on this list casts Lana Turner for her star power but doesn’t actually center her as its star, it’s imperative to include her iconic, spotlight-commanding role in this classic studio noir.  Turner plays the world’s most pragmatic femme fatale in The Postman Always Rings Twice, using her smoky sexual charisma to inspire a lovelorn drifter to kill her husband so she can run her own roadside diner, to both her and her lover’s eventual peril.  Despite a couple mid-film courtroom battles that ice their wayward momentum, it’s a great story about two lost souls who are so rottenly horny for each other that they don’t know what to do except destroy everything.  If nothing else, it’s easily 1000x sexier than its 80s erotic thriller remake, a movie that Turner dismissed as “pornographic trash” without ever actually watching it.

The Bad and the Beautiful (1952)

The only reason the mean little Hollywood tabloid The Bad and the Beautiful can’t claim to be a proper Lana Turner showcase is that she’s outshined by an incredibly unrelenting Kirk Douglas performance that leaves no scenery in his path unchewed.  The movie itself is also somewhat outshined by its own overperforming peers in the same way, as it boldly, brashly recalls Citizen Kane & Sunset Boulevard without having any of the necessary virtuosity to back it up.  Luckily it’s bitchy & cynical enough to stand on its own as a self-hating Hollywood mythmaker, and it props Turner up as a mildly fictionalized version of herself – a powerhouse Studio System starlet with a troubled life offscreen.  She’s unusually vulnerable in the role too, plunging to rock bottom before towering over Douglas’s frantic anti-hero as his romantic foil.

Imitation of Life (1959)

Turner also plays a struggling actress who eventually makes it big in Douglas Sirk’s classic melodrama Imitation of Life, and I’d say she’s also outshined as a secondary attraction there, despite her prominence on the poster.  Like in Peyton Place, Turner’s name is used as a box office draw, but the most compelling melodrama in the film is reserved for the teens running circles at her feet.  She looks absolutely fabulous in the role as the matriarch Broadway star, though, modeling a million-dollar wardrobe that broke records for Old Hollywood productions at the time. 

By pretending to position Turner center stage, Sirk was able to get away with telling a subversive story about racial discrimination, passing, and self-hatred with Juanita Moore’s character in a way that would’ve frightened off studio execs without blinding them with Turner’s gowns & jewels.  The boldly political sex education messaging of Peyton Place is hidden behind Turner’s star wattage in a similar way, even if it’s not nearly as tasteful nor exquisitely staged as its Douglas Sirk equivalent.  By the time she “starred” in Imitation of Life, the real-life tragedy in Turner’s family had already made tabloid headlines, but she was still useful to Sirk as a signal of class & prestige, which I think says something about the inherent strength & respectability of her screen presence.

-Brandon Ledet

Movie of the Month: Peyton Place (1957)

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Every month one of us makes the rest of the crew watch a movie they’ve never seen before, and we discuss it afterwards. This month Britnee made Boomer, Brandon, and Alli watch Peyton Place (1957).

Britnee: I love drama. Soap operas like The Bold and the Beautiful and Days of Our Lives were the inspiration for “playing pretend” with my Barbie dolls when I was a wee one. Now, as a grown adult, I spend most of my time in the BravoSphere obsessing over everything Real Housewives (when I’m not watching movies, of course). Yes, I like my drama on the trashy side, so it’s no surprise that I fell in love with the classic melodrama Peyton Place. 

Peyton Place is adapted from Grace Metalious’s debut novel of the same name that shocked the world in 1956. It was regarded as smut by the public and banned in various cities and countries due to its racy subjects, including incest, rape, abortion, and adultery. Film producer Jerry Wald jumped on getting the rights to Peyton Place from Metalious less than a month after the novel was released. The result is definitely a sanitized version of the novel, but it’s still pretty scandalous considering that the film was released in 1957.

In the small New England town of Peyton Place, the gossip is hot and the secrets are plentiful. Michael Rossi (Lee Phillips) arrives for his new job as the high school principal along with his “liberal” education methods in tow. We soon find out that he is taking the position from Mrs. Thornton (Mildred Dunnock), who is a tenured English teacher more than fit for the job. There’s a plethora of sad moments throughout the film, but Mrs. Thornton’s heartbreak at that disappointment hits me so hard. We are then introduced to multiple families who have all sorts of juicy secrets, particularly the MacKenzies and the Crosses. Constance MacKenzie (Lana Turner) is a widow and shop owner, raising her only-child, Allison (Diane Varsi). Allison is best friends with Selena Cross (Hope Lange), who’s mother Nellie (Betty Fields), is Constance’s maid. Selena has an extremely rough life, especially compared to Allison’s. She lives in a shack with her mother, younger brother, and horrible alcoholic stepfather.

The judgmental and hypocritical society of Peyton Place causes irreparable damage to much of the community, particularly the youth. Allison is judged harshly by Constance for an innocent kiss, only to find out that she was the product of an affair. Selena is raped and impregnated by her stepfather, struggles to get an abortion, and miscarries due to an accident. Her mother, Nellie, then commits suicide at the MacKenzie residence. To make matters worse, she murders her stepfather in self-defense when he tries to attack her again and is put on trial. And that’s not even getting into Rodney & Betty’s struggles outside the main drama. There is never a dull moment in the film, since we are following so many different families and couples, which is one of the things I appreciate most about it. You can rewatch it multiple times and focus on a different character each time. It’s movie magic!

I’m dying to know what the rest of the crew thought of this movie. We’re there any characters y’all found more fascinating than others?

Brandon:  I loved this.  It’s the exact intersection of high and low art sensibilities where you’ll find most of cinema’s shiniest gems.  For whatever reputation Peyton Place might have as a trashy paperback, this adaptation treats it with the same wide Cinemascope vistas and sweeping orchestral overtures you’d expect in a David Lean adaptation of a literary classic.  A sprawling, gossipy epic of small-town scandal & melodrama, it’s essentially Douglas Sirk’s “Harper Valley PTA”, an exquisite rendering of sensationalist pulp.  The material at hand earns that treatment too.  No matter what prurient curiosity the novel may have held as the Fifty Shades of Grey of its time, it also functions as politically-minded sex education advocacy.  It argues that good, healthy sex habits should be openly discussed and even taught in schools, since the small-town sex shaming of all “dirty talk” is what causes heartbreak & tragedy in these doomed characters’ lives.  There’s something genuinely radical about its 50s-era sex positivity, especially when the proudly horny Allison explains to her male classmate “Girls want to do the same things as boys,” a truth that still hasn’t been fully absorbed in small-town American rhetoric.

Singling out individual characters is a smart way to discuss this film, since there are seemingly hundreds to choose from, each representing their own hot-button issue meant to inspire hushed watercooler & beauty salon chatter among anyone lucky enough to have visited Peyton Place.  I was also heartbroken by the professional disappointments Mrs. Thornton suffers in the first act; I found myself crying over her open-hearted kindness within seconds of meeting her, as her students pooled money together to buy a congratulatory gift for a promotion that never came.  She’s only a small part of the story, though, especially as her potentially pompous replacement proves himself to be just as noble & progressive in his approach to teen-years education.  What I was more hanging on the edge of my seat about was the character arc of Allison’s friend Norman Page (Russ Tamblyn). 

Throughout the film, Norman is portrayed as sexually timid & confused, to the point where he was an obvious representative of closeted (and maybe even oblivious) homosexuality.  What was unclear was how far the movie could possibly go in openly discussing his sexual orientation, beyond broad, Freudian characterizations of his overbearing mother and his self-hating nature as a “coward” and a “sissy.”  My fear was that Allison would be romantically paired with Norman as a narrative attempt to “cure” him, but thankfully they just remain good friends & co-conspirators.  Like many of the hot-button issues the movie collects like Pokémon, Norman’s status as a sexual outlier is never exactly challenged or resolved.  It’s more just plainly represented as a simple fact of life (as much as it could be in a time of intense sexual repression).  The difference with Norman’s sexual identity crisis, though, is that it’s never openly discussed like the affairs, suicides, rapes, and miscarriages playing out elsewhere in town.  Even for a movie that proudly tackles the most sensational topics of its day, Norman’s (ambiguous, unconfirmed) queerness is too controversial to be discussed in clear, honest terms, which is what makes him such a fascinating character to keep track of in the larger crowd.  There’s a tension to seeing just how far the movie is willing to go in his characterization in every scene he enters.

Boomer: It’s funny that Brandon should mention “Harper Valley PTA,” since that’s the only real exposure that I had to Peyton Place (other than its use as exactly the same epithet that Jeannie C. Riley used) prior to this viewing: “You think that as the mother I’m not fit / Well, this is just a little Peyton Place / And you’re all Harper Valley hypocrites.” That is to say, a Peyton Place is somewhere that there’s an awful lot of funny business going on, if you know what I mean. I don’t know how much of that was born out of the film itself and how much was the result of the various sequel soaps and other adaptations that were released in its wake, because in practice, there’s actually very little sex in the film, with what little there is being unspoken or deep in the back story, while the forefront is composed of so much suspicion and gossip. There’s one really frisky classmate of Allison and Selena who flirts with the former before devoting himself to his one real childhood sweetheart (to whom he seems faithful despite his raging hormones, especially in combination with his disdain for his father’s own implied adulteries), and then in the backstory Connie had an affair with a married man, of which Allison is the product. It’s barely salacious, even for the time period, and only the first of these is common knowledge, though it enters the town’s thriving marketplace of gossip attached to the incorrect players. Peyton Place’s prosperity comes in the form of its textile mill, but it runs just as much on the rumor mill, as very little information that gets passed around is accurate, and real secrets get covered over in the rush. Connie’s affair could have remained hidden forever, just like Lucas Cross’s crimes and sins, because town gossip was mostly concerned with fiction. 

I, like Brandon, also thought of Douglas Sirk while watching this, but in my mind I titled it “Sirk’s Twin Peaks” because in both titular towns, the deepest and most harrowing crime is at the expense of a teenage girl and mostly concerns itself with her peers and the people of her parents’ generation who are supposed to be looking out for their children. (And they both have Russ Tamblyn!) It could just as easily have been Sirk’s Blue Velvet, however, given that it was the earlier of David Lynch’s works about an idyllic town with a monstrous underbelly of violent unchained id and a facade of perfect Americana with a maggoty core. (And they both have Hope Lange!) But the film is only Lynchian in its topic, not in its tone or its temperament, and in this mixture between the cheerful color of full-on Cinemascope melodrama and its seedy story of suspicion and vice that makes it feel at once both dated and timeless in the best possible way. 

Alli: I went into this movie, as I do with a lot of movies from this era, with my 1950s housewife lenses on. I like to imagine that I’m completely fresh and contemporary to an old movie. From that perspective, Peyton Place is positively lurid. Teenage sexuality? Class consciousness? Education reforms? Abortion? Absolutely shocking. Which is why I couldn’t stay in that frame of mind for long. It’s just too ahead of its time. I’m honestly astonished that it even got made. It’s not always an easy watch, but it is a worthwhile one, filled with drama, critiques of small town America, and necking. If this movie were made on this scale today, there are still people who would find it absolutely shocking and controversial. 

It starts off strong with Michael Rossi arriving in town observing the dilapidated shacks on the wrong side of the tracks, only to arrive on mainstreet in this idyllic New England hamlet, complete with beautiful green trees, gorgeous homes, and quaint local businesses. He has a conversation with a restaurant owner about the state of employment in Peyton Place where we find out that almost everyone works at a woolen mill and that business has a stranglehold over everything in town. Like any town where one industry dominates the entire economy, the business owners have a vested interest in making sure that education is undervalued and that the status quo is maintained. Rossi does manage to haggle for a better salary, even with the reluctance of the school board, probably because he is not the “older” woman Mrs. Thorton (“older” in scare quotes here because it’s later revealed that she’s in her mid to late 40s). This clash of capitalistic American values against an educator’s desire for fairness and equality for all students is riveting. When he’s demanding a salary and refusing to do the unpaid labor of coaching sports teams, I was elated. We need more movies where characters stick up for themselves in the faces of tycoons.

All these teens’ stories are so good. I love them sneaking around and indulging in horny teenage rebellion. I love Betty slutting it up. It’s extremely satisfying when Allison stands up for herself to her hypocrite mother. Norman suffering his Psycho-esque Norma Bates mother is just oedipal perfection. Selena’s story, however, is heartbreaking, and quite frankly, it was extremely difficult for me to watch. The abuse she suffers at the hands of her stepfather is presented so starkly and realistically. In a movie full of overblown drama, this plot line unfortunately feels the most realistic until the town rallies behind her (real life is rarely that hopeful). When she snaps and kills Lucas, it is weirdly satisfying, even with the thought that she may have just doomed herself by trying to save herself.

I’m so glad that I watched this soapy, melodramatic epic. It is going to stick in my mind for a long time.

Lagniappe

Alli: I was so focused on how great the narrative is, I forgot to mention it’s beautiful too! How about Mrs. Mackenzie in that red dress going to Rossis’ house for Christmas? The bright, saturated colors there are just wonderful.

Brandon: My only previous exposure to Peyton Place was the shot of Jayne Mansfield reading it during a self-indulgent bubble bath in Will Success Spoil Rock Hunter?, a visual gag that’s much funnier now that I know of the novel’s sub-literary reputation.

Britnee: I find myself referencing Peyton Place more and more as I get older. I’m not sure if that’s a good thing, but it’s a reminder of how relevant the film still is. It should come as no surprise that a Peyton Place themed excursion to its Camden, Maine filming location is on my vacation wishlist. The Camden Public Library even put together a map of Peyton Place landmarks. The majority of the locations haven’t changed much since 1957. It’s the melodramatic time capsule of my dreams!

Boomer: I was on the edge of my seat waiting to see which actor I knew from their appearances on Alfred Hitchcock Presents or The Alfred Hitchcock Hour would appear next. I immediately recognized Mildred Dunnock (Mrs. Thornton) from her three appearances in the former program and her singular appearance in the latter, in the episodes “None Are So Blind,” “The West Warlock Time Capsule,” “Heart of Gold,” and “Beyond the Sea of Death.” Arthur Kennedy (Lucas Cross) appeared in the Hour episode “Change of Address,” Betty Field (Nellie Cross) was in the Presents episode “A Very Moral Theft” and “The Star Juror” episode of Hour, and Staats Cotsworth (Charles Partridge) had a role in Hour‘s “The Thirty-First of February.” Even Lorne Green, who will forever be the original Battlestar Galactica‘s Commander Adama to me, appeared in the Presents episode “Help Wanted.” Surprisingly, the big one was Robert H. Harris, who played Peyton Times editor Seth Bushwell: the was in no fewer than eight episodes of Presents (“Shopping for Death,” “The Orderly World of Mr. Appleby,” “The Hidden Thing,” “Toby,” “The Dangerous People,” “The Safe Place,” :Graduating Class,” and “The Greatest Monster of them All”) and an episode of Hour entitled “Consider Her Ways.”

Next month: Brandon presents Will Success Spoil Rock Hunter? (1957)

-The Swampflix Crew