Imitation of Life

This is probably one of the first films that dealt with race relations in this country. 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. Most of the films at that time showed blacks as domestic servants and pictured them as "happy" in those roles. This is a classic in that it's one of the first times any medium tackled the issue of black-white relations. It's a must-see, both from an entertainment perspective and, most importantly, a historical one. I think a lot of African-Americans in the entertainment business can look at this film as a trail-blazer in terms of "serious" roles for blacks instead of being cast as "entertainers."

"Imitation of Life", the 1934 version, reflected the attitude in the country toward blacks. This movie wouldn't have had a chance of being made in the present climate of political correctness. This movie shows how Hollywood dealt with the racial issues back in those years. John Stahl directed the film, which stands in stark contrast with the Douglas Sirk's take in 1959 which presents a glossier vision of the Fanny Hurst novel, in which it's based.

Between the two versions, this one seems to make more sense, in spite of the incredible jump from rags to riches Bea Pullman experiences. Claudette Colbert makes Bea more accessible to us, in contrast with Lana Turner's blonde goddess looks. 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. Ms. Beavers' role was made bigger in the 1959 remake, but Juanita Moore, who played the part, was not subjected to her predecessor's fate. Rochelle Hudson, Ned Sparks and Fredi Washington round up the supporting cast.

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. Joyously serving up love & pancakes, or devastated by her daughter's rejection of their race, Miss Beavers makes her audience feel her every emotion. This was the finest role of her film career, and she makes the most of it. However, the movie over, the studio system returned her to mammy parts. This is a tremendous blot on Hollywood's record.

Beautiful Claudette Colbert is scintillating, as always. Playing a tenderhearted maple syrup saleslady who first employs Miss Beavers, and later befriends her, Miss Colbert adds a distinct touch of class to the film. But she is also sympathetic to the concerns of the story and helps to quietly push along the plea for racial equality.

Elegant actor Warren William, he of the sophisticated profile, brings his considerable talents to the role of Miss Colbert's ichthyologist boyfriend. Refreshingly, he plays a solid, decent fellow - instead of the rake or cad which he portrayed so often & so well. 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. It would be a very long time before black performers & black roles would be treated with the dignity they so desperately deserved.

The iconic Claudette Colbert was the shining star in John M. Stahl's 1934 film Imitation of Life, based on a book by Fannie Hurst of the same title. Colbert along with Louise Beavers, Fredi Washington, and Rochelle Hudson join together to expose the hardships of women who must enter the workforce in a time when women were only to maintain households. In addition to the struggle of a family who lost their patriarch, the audience also experiences through the film the multi- faceted race relations that consumed people of color in the 1930's. 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. Struggling to maintain both the household and her husband's business, Bea is blessed with an angel in the form of housekeeper Delilah Johnson. (Louise Beavers) Delilah comes to Bea's door with a proposition to work for the Pullman family for only room and board in exchange. Delilah is not alone, however, she also has a daughter Peola (Fredi Washington). Peola and Jessie are about the same age and Bea doesn't have the money to hire a much-needed housekeeper; the arrangement seems like a fit for all parties involved, so Bea agrees. The two women become fast friends and eventually spring an idea to market Ms. Delilah's pancake recipe. The idea takes off and the duo becomes incredibly wealthy. No matter how much wealth the two accumulate, Delilah requests that she and Peola remain living with Bea and Jessie. The girls grow together, as much as they can, in a world strained by racism. Jessie, being afforded many more opportunities especially in regards to education, flourishes into adulthood and takes off for college. Peola, however, becomes a victim of intolerance and constantly tows the line between her true self, and the self she assumes when she passes as a white woman. Peola becomes estranged from her mother, due to her deep resentment of Delilah's dark skin. 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. There is nothing quite like that softly gleaming glow that a great black and white movie puts off. Claudet Colbert is a national treasure, and if you haven't seen her acting, you should--today. The real power behind this film is its distinct story line. Of course, no one denies the existence of the obvious racism that filled the earlier days of this country. This film takes a unique line of that struggle to focus on the problems that light-skinned black people often went through. Peola could pass for white because her father before her was light skinned. In passing as white, Peola also had to disown her mother. There is no greater pain for a single mother than to be abandoned by her daughter. In contrast, Jessie was afforded much more opportunities due to her skin color and was able to maintain a healthy relationship with her mother. This class distinction was beautifully, and painfully, illustrated in the image of Bea ascending up the stairs while Delilah descended down the stairs immediately following their discussion of college plans of their daughters. This scene depicted, in such a stark way, the level of divide between races at the time, which were present regardless of income. Delilah had amassed a fortune with Bea due to her pancake recipe yet was still treated as a second-class citizen with a daughter that resents her. Many films deal with race, but the added struggle of both the women being single mothers creates a film that will not be forgotten in Imitation of Life.

Although I liked the remake with Lana Turner, it does not compare with the original. 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. It would have been quite a challenge (but, not impossible) for Delilah; a poor, black woman the 30's to make a fortune as a business woman! Also, people make fortunes on other people ideas all the time.

This is a well done soap opera. The cast was excellent. Not a beat was skipped in this movie. I am glad that I had the opportunity to see the original. I also think it was a brave move for the 30's. One of my favorite scenes was when at the end of their "girl talk," Beatrice goes upstairs and Delilah goes downstairs to the servant's quarters. That scene said it all. In spite of the fact that these two women were good friends and loved each other, they did not have equal status because of the color of their skin.