IMITATION OF LIFE [1934 / 1959 / 2015] [2 Classic Movie Collection] [Blu-ray] [USA Release]
Digitally Re-mastered and Fully Restored from High Resolution 35mm Original Film Elements!
Based on the 1933 best-selling novel, “Imitation of Life” is one of the most beloved and respected stories of all-time. This emotionally charged drama chronicles the lives of two widows and their troubled daughters as they struggle to find true happiness in a world plagued by racism. The ‘IMITATION OF LIFE’ Two Classic Movie Collection includes both versions of the film, the original 1934 Best Picture nominee starring Claudette Colbert and the 1959 masterpiece starring Lana Turner. With storylines tackling racism, romance, family, success and tragedy, ‘IMITATION OF LIFE’ is a powerful story that still resonates with audiences today.
FILM FACT No.1: 1934 ‘IMITATION OF LIFE’ 1935 Academy Awards®: Nominated: Best Picture. Nominated: Best Assistant Director for Scott R. Beal. Nominated: Best Sound Recording for Theodore Soderberg (sound director) and Universal Pictures (studio sound department). Child actress Jane Withers has a small part as a classmate of Peola, her fifth film appearance. Franklin Pangborn appears uncredited as "Mr. Carven." In 2005, ‘IMITATION OF LIFE’ was selected for preservation in the United States National Film Registry being deemed "culturally, historically, or aesthetically significant." It was also named by Time in 2007 as one of "The 25 Most Important Films on Race."
FILM FACT No.2: ‘IMITATION OF LIFE’ 1959 Laurel Awards: Win: Golden Laurel Award for Top Drama. Nominated: Golden Laurel Award for Top Female Supporting Performance for Juanita Moore. Nominated: Golden Laurel Award for Top Cinematography in Color for Russell Metty [5th place]. 1960 Academy Awards®: Nominated: Best Actress in a Supporting Role for Susan Kohner. Nominated: Best Actress in a Supporting Role for Juanita Moore. 1960 Golden Globes: Win: Best Supporting Actress for Susan Kohner. Nominated: Best Supporting Actress for Juanita Moore. 1960 Directors Guild of America: Nominated: Outstanding Directorial Achievement in Motion Pictures for Douglas Sirk. ‘IMITATION OF LIFE’ [1959] Title Song and Credits were written by Sammy Fain and Paul Thomas Webster and vocals by Earl Grant. Noted gospel singer Mahalia Jackson received "presenting" billing for her one scene, performing a version of "Trouble of the World" at Annie's funeral service. In 2015, the United States Library of Congress selected ‘IMITATION OF LIFE’ for preservation in the National Film Registry, finding it "culturally, historically, or aesthetically significant" just like the original 1934 film.
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IMITATION OF LIFE 1934 Cast: Claudette Colbert, Warren William, Rochelle Hudson, Ned Sparks, Louise Beavers, Fredi Washington, Juanita Quigley (Baby Jessie Pullman), Alan Hale, Henry Armetta, Wyndham Standing, Monya Andre (uncredited), Alyce Ardell (uncredited), William Austin (uncredited), Dorothy Black (Peola Johnson Age 10) (uncredited), Edna Bowdoin (uncredited), Tyler Brooke (uncredited), Daisy Bufford (uncredited), Joyce Compton (uncredited), William B. Davidson (uncredited), Sayre Dearing (uncredited), Norma Drew (uncredited), Jean Fenwick (uncredited), Noel Francis (uncredited), Paullyn Garner (uncredited), Dick Gordon (uncredited), Jesse Graves (uncredited), Reverend Gregg (uncredited), Sebie Hendricks (Peola Johnson Age 4) (uncredited), G.P. Huntley (uncredited), Stuart Johnston (uncredited), Marcia Mae Jones (uncredited), Tiny Jones (uncredited), Marilyn Knowlden (Jessie Pullman Age 8) (uncredited), Henry Kolker (uncredited), Lenita Lane (uncredited), Curry Lee (uncredited), Bessie Lyle (uncredited), Hattie McDaniel (uncredited), Claire McDowell (uncredited), Harold Miller (uncredited), Julius Molnar (uncredited), Bert Moorhouse (uncredited), Edmund Mortimer (uncredited), David Newell (uncredited), Barry Norton (uncredited), Edgar Norton (uncredited), Dennis O'Keefe (uncredited), Franklin Pangborn (uncredited), Paul Porcasi (uncredited), Hayes Robinson (uncredited), Ronald R. Rondell (uncredited), Gay Seabrook (uncredited), Teru Shimada (uncredited), Larry Steers (uncredited), Madame Sul-Te-Wan (uncredited), Ethel Sykes (uncredited), Libby Taylor (uncredited), Alma Tell (uncredited), Fred 'Snowflake' Toones (uncredited), Martin Turner (uncredited), Walter Walker (uncredited), Bruce Warren (uncredited), Hazel Washington (uncredited), Clarence Wilson (uncredited) and Jane Withers (uncredited)
Director: John M. Stahl
Producers: Carl Laemmle Jr. and Henry Henigson (uncredited)
Screenplay: Fannie Hurst (novel), William Hurlbut (screenplay), Arthur Richman (contributing writer) (uncredited) Bianca Gilchrist (contributing writer) (uncredited), Finley Peter Dunne (additional dialogue) (uncredited), Finley Peter Dunne (contributing writer) (uncredited), Preston Sturges (contributing writer) (uncredited), Samuel Ornitz (contributing writer) (uncredited), Sarah Y. Mason (contributor to treatment) (uncredited), Victor Heerman (additional dialogue) (uncredited), Victor Heerman (contributing writer) (uncredited) and Walter Ferris (contributing writer) (uncredited)
Composer: Heinz Roemheld (uncredited)
Cinematography: Merritt B. Gerstad (Director of Photography)
Image Resolution: 1080p (Black-and-White)
Aspect Ratio: 1.37:1
Audio: English: 2.0 DTS-HD Master Audio
English: 2.0 Dolby Digital Stereo Audio
Running Time: 111 minutes
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IMITATION OF LIFE 1959 Cast: Lana Turner, John Gavin, Sandra Dee (Susie Age 16), Susan Kohner (Sarah Jane Age 18), Robert Alda, Dan O'Herlihy, Juanita Moore, Karin Dicker (Sarah Jane Age 8), Terry Burnham (Susie Age 6), John Vivyan, Lee Goodman, Ann Robinson, Troy Donahue, Sandra Gould, David Tomack, Joel Fluellen, Jack Weston, Billy House (Fat Man on Beach), Maida Severn, Than Wyenn, Peg Shirley, Mahalia Jackson (Choir Soloist), Frank Baker (uncredited), Alex Ball (uncredited), George Barrows (uncredited), Chuckie Bradley (uncredited), Paul Bradley (uncredited), Chet Brandenburg (uncredited), Teddy Buckner (uncredited), George Calliga (uncredited), Steve Carruthers (uncredited), Richard Collier (uncredited), Paul Cristo (uncredited), Joe Darensbourg (uncredited), Robert Darin (uncredited), Mike De Lay (uncredited), Elinor Donahue (uncredited), Adolf Eichmann (archive footage) (uncredited), Cicely Evans (uncredited), Myrna Fahey (uncredited), Bess Flowers (uncredited), George Ford (uncredited), Paul Gustine (uncredited), Tedd Hadfield (uncredited), Shep Houghton (uncredited), Lynne Hunter (uncredited), Nelson Leigh (uncredited), Paul Levitt (uncredited), Leota Lorraine (uncredited), John Marlowe (uncredited), John McNamara (uncredited), Joseph Mell (uncredited), Forbes Murray (uncredited), Eddie Parker (uncredited), Waclaw Rekwart (uncredited), Cosmo Sardo (uncredited), Jeffrey Sayre (uncredited), Eddie Smith (uncredited), Cap Somers (uncredited), Norman Stevans (uncredited), Ted Thorpe (uncredited), Jeanne Westmore (uncredited) and Napoleon Whiting (Lora's Butler) (uncredited)
Director: Douglas Sirk
Producer: Ross Hunter
Screenplay: Fannie Hurst (novel), Allan Scott (screenplay) and Eleanore Griffin (screenplay)
Composers: Frank Skinner and Henry Mancini (uncredited)
Cinematography: Russell Metty, A.S.C. (Director of Photography)
Image Resolution: 1080p (Eastman Color)
Aspect Ratio: 2.00:1
Audio: English: 2.0 DTS-HD Master Audio
English: 2.0 Dolby Digital Audio Stereo
Running Times: 125 minutes
Region: All Regions
Number of discs: 1
Studio: Universal Pictures
Andrew’s Blu-ray Review: In the 1934 ‘IMITATION OF LIFE’ sees Bea Pullman and her daughter Jessie have had a tough time making ends meet since Bea’s husband died. Assist comes in the form of Delilah Johnson, who agrees to work as Bea’s housekeeper in trade for a room for herself and her daughter Peola. Bea comes up with a plan to market Delilah’s pancake recipe so making Claudette Colbert and Louise Beavers quickly change into becoming very wealthy, especially as they start up a pancake business collectively which rapidly turns into a big hit and as the years go on, their friendship also deepens. Their relationships with their daughters, nonetheless, turn into strained. Ashamed of her mom, Peola seeks a brand new life by passing for white.
Bea’s love for her daughter is examined when she and Jessie fall for a similar man. It is a very powerful film, regardless of its reflecting the naivety of the occasions. Like ‘A Star is Born,’ the story of ‘IMITATION OF LIFE’ is inherently shifting: a white girl befriends an African-American woman, who has a pale-skinned daughter that unbeknown to her mom has been passing for white. But there’s solely a lot that loving friendship and motherhood can accomplish. This is the original version, extra homely than the fifties one. Bea [Claudette Colbert] is a single mother who fortuitously bumps into good-hearted Delilah [Louise Beavers], who’s keen to forgo a salary so as to merely have a loving dwelling.
The friendship between Bea and Delilah is the heart of the film, though the characterisation of Delilah as a mammy type is a bit too patronising and Bea is on the whole condescending in direction of Delilah. The bond of motherhood can also be a really significant theme: Peolas heart-breaking rejection of Delilah is contrasted with the relative lightness of Jessie (Beas daughter) crush on her mother’s boyfriend Stephen [Warren William]. Rochelle Hudsons portrayal of Jessie is significantly better than Sandra Dees, but then the Jessie character of this film is written better and is more interesting and her exchanges with Stephen are significantly comedic.
Louise Beavers portrayal of Delilah (renamed Annie in the later film) is the mammy stereotype but with a soulful edge. She takes the subservient function due to her spiritual beliefs somewhat than as a result of she believes that black folks must be inferior. The difference between this and the Douglas Sirk film is that this film is saying that there are variations between black people and white folks whereas the latter film isn’t. I couldn’t say which is a more political correct portrayal of the African-American expertise, especially in a post-civil rights world; many would be inclined to favour the latter choice. Nevertheless, there is a powerful soulfulness about Delilah that probably overcomes the racial stereotypes. This 1934 film affords a number of fascinating themes: enterprise; society’s angle to race; friendship; motherhood, and many others.
To put it simply, the writing in the 1934 ‘IMITATION OF LIFE’ makes sense. As a consequence of that, the director gets his priorities settled and knows how to direct your attention to the central dramas that truly matter. And I believe you’ll wind up being more genuinely moved than the 1959 film, which I also get great joy out of watching.
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In the 1959 ‘IMITATION OF LIFE’ and Twenty-five years after the 1934 film was released, along comes a picture of the same title, based upon the then popular Fannie Hurst novel and Lana Turner as its star. With this 1959 film it happens to be in vivid colour, and a few details in the story have been changed. But otherwise this modernised remake of Miss Hurst's tale is much the same as its predecessor and it is the most shameless tear-jerker ever.
There are two mothers in the situation and no fathers, but despite this, you still have the rich flow of mother love. One is a lovely young widow who aspires to a theatrical career and somewhat neglects her growing daughter in gaining great success in that field, especially as you know in the former film and in the novel, she was a tycoon in pancake flour, but the point was the same: She concentrated on a self-absorbed career.
The other mother is an African-American and is the first mother's loyal maid. She doesn't neglect her daughter, but she has a serious of problems on her hands. Her daughter is markedly light-skinned and, as she grows up, she wants to pass for white, so much so that she repudiates her mother and eventually runs away. Thus the poor woman's heart is broken, in the midst of her employer's lush success. The contrast of the mother's compensations from their differing daughters is the story's irony.
As you may sense from this outline, the emotional potentialities are strong, and no reluctance, restraint or artful prudence has been exercised in banging them across. The screenplay by Allan Scott and Eleanore Griffin puts the issue positively, and, to make sure there's no vagueness in the dialogue, it is written in basic clichés.
As for the Juanita Moore funeral near the end of the film, which is the climactic episode, it is a splurge of garish ostentation and sentimentality. Mahalia Jackson is recruited to do a full-voiced wail of “Trouble of the World,” while a church is packed with principals and extras who sob noisily and dab at their eyes. And, of course, the wayward daughter who wants to be white shows up at the end and throws herself on the coffin, crying for mama’s forgiveness.
Under Douglas Sirk's direction, we get to see Ms. Lana Turner as the actress, Sandra Dee as her daughter (at 16), Juanita Moore as the African-American mother, Susan Kohner as her daughter (at 18), John Gavin as a suitor of Miss Turner, Robert Alda as her agent in the theatre and Dan O'Herlihy as a doting playwright, does not give an imitation of life, they instead give an imitation of film acting that has a slightly less graceful level, than we got see twenty-five years ago in the classic 1939 film.
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1934 IMITATION OF LIFE MUSIC TRACK LIST
NOBODY KNOWS de TROUBLE I’VE SEEN (uncredited) (Traditional Negro Spiritual) (Lyrics by Henry Thacker Burleigh) [Played and sung by an off-screen chorus during the opening credits] [Played as background music often]
HOME, SWEET HOME (uncredited) (Music partly composed, and arranged by H.R. Bishop from a Sicilian air) [Played by the band at the end of the party]
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1959 IMITATION OF LIFE MUSIC TRACK LIST
IMITATION OF LIFE (Words by Paul Francis Webster) (Music by Sammy Fain) [Sung by Earl Grant]
TROUBLE OF THE WORLD (uncredited) (Words and music by Unknown) [Performed by Mahalia Jackson]
EMPTY ARMS (uncredited) (Written by Arnold Schwarzwald and Frederick Herbert) [Performed by Susan Kohner and dubbed by Jo Ann Greer]
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Blu-ray Image Quality – Both films were originally given rather lacklustre image releases, especially multiple times on the inferior DVD format and I wasn’t really expecting a whole lot of effort into these two films, especially being released on the Blu-ray disc format, especially with both films being released onto one Blu-ray disc. The 1934 film will make your eyeballs pop out of your head, as the film has been completely restored and looks incredible in sumptuous Black-and-White image. There is a nice heavy layer of natural film grain over the entire film, and the black-and-white photography looks simply magnificent. Deep black levels dominate the image and give the film its dimensionality with excellent detail. The contrast levels are well done and while there are some minor speckles and a light flickering due to the film stock, the image presented today is light years better than anything that has been shown before and is 5 stars all the way. As to the 1959 film, the Blu-ray presentation is another night and day difference as the colour levels are bright and well saturated with wonderful tons of blues, reds, pinks and other 1950’s colouring to give a warm and pleasing image. Detail is fantastic as the natural film grain shines through and so does all the little details that can be seen in a cinemascope picture. There is a hint of softness to the picture, but I don’t detect any DNR [Digital Noise Reduction] or major tampering with the image so I can only assume it is the film source. This definitely gets a 5 star rating from me.
Blu-ray Audio Quality – Both Films are presented in the 2.0 DTS-HD Master Audio experience, and both also sound like they have been given a fantastic upgrade as well. The dialogue is clean and clear with crisp vocals and a nice front soundstage to manage the effects. There isn’t a whole lot of action going on in the drama, but you hear a fair amount of hustle and bustle in the city environment, whether that be a time at the beach for the 1959 version, or the honking of city traffic in the Claudette Colbert rendition. Clarity is spot on and both show incredible fidelity. There is a mild bit of recording hiss in the early 1939 film, but that’s mainly due to the microphones and recording equipment used during the 1930s. It is very minimal and only noticeable as a background noise rather than as a distraction. There is no surround usage, especially in the 1959 film, as one would expect from a 2.0 Dolby Digital track, but the restored audio files sound simply magnificent considering it is only 2 channels of use. This gets from me a brilliant 5 star rating.
Blu-ray Special Features and Extras:
‘IMITATION OF LIFE’ [1934]:
Audio Commentary with African-American Cultural Scholar Avery Clayton: At the start of this particular audio commentary Avery Clayton introduces himself that he is the Director of the Mayme A. Clayton Library and Museum of Culver City, California, and is an expert on African-American Cultural Affairs. Avery informs us that he is totally thrilled to have these two versions of ‘Imitation of Life’ released in this 2 Movie Collection Blu-ray disc and especially this 1934 version which he is commentating on, and also feels the 1934 version was an important milestone in American filmmaking. He also feels that people in the 21st Century viewing this film will say, “Oh my god how stereo typical, how bad view of blacks,” but he feels the 1934 film was a stepping stone for progress and has glowing praise for Claudette Colbert and the little girl actress Juanita Quigley [Baby Jessie Pullman, Age 3] who he felt would have been good competition to Shirley Temple. He also mentions that Claudette Colbert was a very accomplished actress and prior to this 1934 film, had completed to major Hollywood films entitled ‘It Happened On Night’ and ‘Cleopatra,’ and was one of the highest paid actress of her time. When Louis Beavers lets slip that her husband was a “Light Coloured Gentleman” and if she mentioned he as “White,” it would have caused a great controversy in 1934. One important aspect of this 1934 film that Alvin Clayton points out, is that it was the first film to show the emotional life of an African-American, whereas before these actors would have been marginalised. But when we are in the shop at the start with both Claudette Colbert and Louise Beavers, Avery Clayton points out a “Light Bulb” moment when we get the start of the “Delilah Johnson Pancakes” and the beginning of both the female characters emotional bonding and friendship that lasts to the very end of the film. Avery Clayton also comments that he feels Louise Beavers was a wonderful actress throughout the film and especially where Louise Beavers is very sick on the bed and Claudette Colbert is with her in the bedroom and he feels it is an extraordinary performance from both women and is also so very heart warming. But as we near the end of the film with the funeral of Louise Beavers, be prepared to get the tissues handy, as it is a very emotional scene that really made this film what it was and a again a definite firm favourite of Avery Clayton. But what no one points out is that the white casket coffin is the same one used in the 1959 film. So all in all, this is a totally brilliant audio commentary, as Avery Clayton is a very intelligent person and gives very informative information on this 1934 Classic Hollywood film. A totally must view.
Theatrical Trailer [1934] [1080p] [1.37:1] [1:14] For today’s audience, seeing this particular trailer will be seen as not very PC, as I was slightly taken a back and surprised when I see the word “colored” mentioned several times from the critics wording, praising the films African-America actress. Despite this, I am very pleased and proud that Universal Studio has decided to allow this particular 1934 original trailer to be included in this special double Classic Movie Collection.
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‘IMITATION OF LIFE’ [1959]:
Audio Commentary with Film Historian Foster Hirsch: As soon as the film starts Foster Hirsch claims that he is a huge fan of this 1959 Classic Hollywood film, like me. He also mentions as the rhinestone diamonds descend to the bottom of the screen, that is Earl Grant singing the Title song and was compared as an imitation Nat ‘King’ Cole. He also informs us that he has done two tributes to this 1959 film, one was at the American Cinematic in Hollywood and the other was at the Academy of Motion Picture and Sciences in New York and the guest of honour at both venues were Juanita Moore and Susan Khoner, who were of course Oscar nominated for their extraordinary performance in the film and the audiences at both venues went wild with enthusiasm for both actresses at the screening. Foster Hirsch points out that when Juanita Moore informs us of her daughter’s circumstances relating to her father, most Americans in 1959 were totally shocked and disturbed by this information. We also find out that Ms. Lana Turner only made another film, which was entitled ‘Madame X’ and totally disappeared off the radar, but received 50% of the profit from the 1959 film. Another interesting fact we find out that Juanita Moore and Lana Turner got on really well together in the film, so much so, Lana Turner was very helpful towards Juanita Moore, who was very nervous making the film. Foster Hirsch also points out that the 1959 film is like a glossy “Soap Opera,” but Douglas Sirk wanted the film to reflect the critique of the glossy “Soap Opera,” indicating a swipe at American Capitalism, American Consumerism and the institution of being a “Movie Star” and making you feel there is two films going on at the same time, so making the film is filled with irony and in doing so made the film a massive Box Office hit and has also gained in the 21st Century critical success, especially in France and also the American Critics, who could see what Douglas Sirk was saying about this film and has become a cult classic among feminist and the gay audience. A lot of people have branded the film “racist,” but Foster Hirsch feels totally the opposite, as well as me, because it pictures a time in America that one had to pass oneself off as white and the film also reflected a social reality. Foster Hirsch also points out as you go through the film; Douglas Sirk shows different shades of colour, and you see red is very dominant colour throughout the film. But one disturbing fact we find out about the film is the scene where Susan Kohner meets her boyfriend Troy Donahue and admonishes her for being black, Douglas Sirk told Troy Donahue to really hit Susan Kohner really hard and was really hurt and had to go home to recover, but Douglas Sirk placates her and sends her a load of roses to apologise. When get to the scene at the Moulin Rouge club, it was the actually one that is on Sunset Boulevard. But when we see Juanita Moore confronts Susan Kohner, when Foster Hersch showed the film to an audience in an Indian cinema, the whole audience wept with that scene. When we get to near the end of the film with the funeral, Foster Hersch points out that it was filmed on the hottest day and had to re-shoot scenes several times and again when Susan Kohner runs towards her mother’s white casket and embraces it, is again the same one that was used in the 1934 film. But one interesting fact that Susan Kohner mentions to Foster Hersch, that since that shot with the gardenias, she has hated that flower. So to finally sum up this brilliant audio commentary, Foster Hersch gives a brilliant in-depth information on this 1959 film and is well worth the listen and gets a 5 star rating from me.
Special Feature: Lasting Legacy: An ‘IMITATION OF LIFE’ [2008] [1080p] [1.78:1] [31:40] Academy Award® nominee Juanita Moore and other respected historians reflect upon making of the two films and examines the enduring themes of race, family and identity in this retrospective documentary. So anyone who appreciates these fine films will surely enjoy this well-made and entertaining and informative documentary. Contributions include: Dr. Drew Casper [USC Professor/Author]; Donald Bogle [Author/Film Historian]; Steve Haberman [Screenwriter/Film Historian]; Foster Hirsch [Author/Film Historian]; Jessica L. Funches [Producer/Director]; Caroline A. Streeter [UCLA Professor/Author]; Avery Clayton [Chief Executive Officer of Mayme A. Clayton Library and Museum] and Juanita [Annie Johnson].
Theatrical Trailer [1959] [480i] [1.37:1] [2:18] What a shame they could not of found the original 2.00:1 aspect ratio trailer, as it is of very poor quality and I suspect this particular 1.37:1 trailer was used to promote this 1959 film on American Television.
Finally, I suspect you are wondering which version I think is the better of the two? That has been wildly debated by critics alike over the many years, but I have to say I know which one I’m giving my vote to, because both films are extremely good, and both have their distinct advantages. With the 1934 version you have the most likeable characters ever to grace the silver screen, but with the 1959 film being so much more lavish and over the top production, much like many films during the 1950s. Both films have been lovingly restored for the Blu-ray format and the audio and video scores certainly are a huge appeal for classic film lovers. With both features together in the same package it is a must buy for anyone who is interested in Classic Hollywood movies and definitely deserves a watch and ‘IMITATION OF LIFE’ was totally an ideal and perfect story of its time. Both adaptations have their virtues, and both remain relevant even with today’s modern audiences. Very Highly Recommended!
Andrew C. Miller – Your Ultimate No.1 Film Aficionado
Le Cinema Paradiso
United Kingdom
