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Douglas
Sirk: |
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This great
director, whose film career spans Germany, France and America between 1934 and
1959, made many kinds of movies – musicals, mysteries, high art dramas – but
Douglas Sirk is associated foremost, now as then, with the genre of melodrama.
Today,
Sirk's legacy can be conjured through a mental montage of the paroxysms of
passion and despair which his heroes and heroines invariably suffer: Jane Wyman
desolate and alone, reflected in a blank TV set in All That Heaven Allows (1955); Dorothy Malone, dancing hell-cat on
a death-driven binge in Written on the Wind (1956); Rock Hudson reduced to bed-ridden helplessness in Magnificent Obsession (1954).
Sirk's
career parallels that of Michael Powell (The Red Shoes, Peeping
Tom) in many respects. Although both enjoyed immense popular success with
some of their films, it took much longer for critics, scholars and cinephiles
to recognise the quality of the work.
Both Sirk
and Powell were rediscovered in the 1970s, and feted with interviews, books,
retrospectives and cultural honours. Both taught filmmaking in universities,
and became mentor figures to such eager disciples as Rainer Werner Fassbinder
and Martin Scorsese.
In Sirk's
case, all this unexpected acclaim came at a certain cost – one he was only too
happy to pay. In the ‘70s, the director was hailed as a subversive, and praised
for his vicious ironies, his Brechtian distance from
Sirk, in
his twilight years, lapped it up. He played up to his new fans' anti-American
resentment, their privileging of critical reason over raw emotion, and their
distaste for syrupy, supposedly feminine forms of mass culture.
Another,
subsequent turn of the critical wheel has tried to find the middle ground
between what made Sirk's films popular in the first place, and the special,
sometimes biting sensibility he undoubtedly brought to the formulaic rules of
the American system.
The fact is
that many of Sirk's greatest films – from
Rather,
Sirk's films plunge us into a whirlpool of lived contradiction – where personal
desire and a hunger for justice always collide with social obligation and
conformist behaviour.
Sirk has often
been praised, since the ‘70s, for the qualities of excess in his films – the
florid, overwrought histrionics, the wild colour schemes, the plots overflowing
with soap opera intrigue. Directors including David Lynch, Pedro Almodóvar and
George Kuchar have taken their cue from such melodramatic excess.
It is too
easy, today, to take such excess as a lordly display of moral superiority or
camp amusement on Sirk's part – and to join in with the brittle laughter. Yet
the oceanic, difficult, sometimes embarrassing feelings that Sirk's films
prompt were surely the very key to their initial success with large audiences.
Watching
Sirk's cinema openly and empathetically, one enters into the same maelstrom
inhabited by the characters, the same wrenching emotions and shifting
identifications. Sirk's films long to break free of the shackles of dominant
ideology, but they also dramatise the enormous difficulty and risk inherent in
that very freedom.
Sirk homages: 8 Femmes, Satin Rouge, The Deep End
© Adrian Martin July 1999 |