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Despite the fact that Douglas Sirk made his last film in 1959
(the Lana Turner soaper Imitation of Life), the German filmmaker
who fled the oppression of the Third Reich in 1937 had a far-reaching
influence on filmmakers through the present day (ergo the "Douglas
Sirk steak" reference in Pulp Fiction). Derided as a filmmaker
of kitschy, lush melodramas, Sirk underwent a reappreciation in
the '70s as critics heralded his ironic use of stylization in
set direction and cinematography. A look at the tortured characters
in his oeuvre--alcoholic Robert Stack and nymphomaniac Dorothy
Malone in Written on the Wind, Susan Kohner as the half-black
girl passing for white in Imitation of Life--reveals a filmmaker
deeply in touch with inner emotions as well as one who relished
Hollywood opulence.
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