Douglas Sirk

Douglas Sirk

  • Highest Rated: 100% The Tarnished Angels (1958)
  • Lowest Rated: 43% Sign of the Pagan (1954)
  • Birthday: Apr 26, 1900
  • Birthplace: Not Available
  • A box office smash and critical bust during his Hollywood career, director Douglas Sirk's artistic stature began to catch up with his popular success in the decades following his early retirement. Championed by auteurist critics and cineaste directors, Sirk's once-reviled melodramas evolved into an inspired blend of bathos and Brechtian distance, with the over the top histrionics of such films as Written on the Wind (1956) and Imitation of Life (1959) becoming deluxe tearjerking material as well as a mordant commentary on American values. Born Claus Detlev Sierck to Danish parents, Sirk headed to Germany in his teens to study drama and art history. Sirk forged a career as a successful theater director in Germany, staging works by such writers as Bertolt Brecht. After the Nazis came to power, Sirk shifted to film in 1934, directing stylishly assured melodramas, musicals, and star vehicles for UFA diva Zarah Leander. The left-wing director and his Jewish wife, however, left Germany in 1937, heading to the U.S. via several countries. Unknown in Hollywood, the newly renamed Sirk kicked around the studios for several years, finally receiving his first directorial assignment with the propaganda potboiler Hitler's Madmen (1943). Working for United Artists and Columbia throughout the 1940s, Sirk became a reliable journeyman, taking on projects from the Chekhov adaptation Summer Storm (1944) to the Lucille Ball crime drama Lured (1947) and a musical comedy Slightly French (1948). Sirk's taste for Baroque visuals served him well with the films noir Sleep, My Love (1948) and Shockproof (1949) (co-written by Sam Fuller).Signing a contract with Universal in 1950, Sirk tried to make the best of the "impossible stories" assigned him. Along with churning out such comedies and musicals as The Lady Pays Off (1951) and Has Anybody Seen My Gal? (1952), Sirk also dealt with new technology, directing a 3-D Western Taza, Son of Cochise (1954), starring contract player Rock Hudson as Taza, and a CinemaScope adventure yarn Sign of the Pagan (1954). Another 1954 release, however, transformed Sirk into a studio moneymaker and future auteur darling. Remaking the 1935 soaper (from a novel he deemed unreadable), Sirk staged Magnificent Obsession's patently absurd story of reformed playboy Rock Hudson's relationship with blind widow Jane Wyman in gaudy Technicolor, matching the tale's fevered emotionalism. A substantial hit, Magnificent Obsession made Hudson a star and began a successful collaboration between Sirk, Hudson, producer Ross Hunter, and cinematographer Russell Metty. Although Sirk continued to produce films in other genres, including the glossy adventure story Captain Lightfoot (1955), the war drama Battle Hymn (1956) -- both starring Hudson -- and an adaptation of Erich Maria Remarque's A Time to Love and a Time to Die (1958), his subsequent reputation rested on four late-'50s melodramas. Re-teaming with Hudson, Wyman, Metty, and Hunter, Sirk's All That Heaven Allows (1955) crystallized his ability to lather up the crowd-pleasing romantic soap while caustically critiquing 1950s America. Set in a perfect town lit and styled for maximum artifice, the love story between Wyman's uptight middle class widow and Hudson's younger free spirit gardener becomes a study in contrasts between her imprisoning home and his rural aerie, her stifling friends and children and his relaxed comrades. Perhaps untouched by the visual suggestion that this couple could never really work, audiences loved it.Described by one scholar as the "consummate" Sirk film, Written on the Wind (1956) featured Hudson, Robert Stack, Lauren Bacall, and Dorothy Malone in a tortured love quadrangle set against the spectacle of a declining oil dynasty. With a plot that included alcoholism, impotence, nymphomania, violent death, an ultra-theatrically lit family estate shot from odd angles, and such remarkable set pieces as Malone's fervid dance with Hudson's picture, Sirk powerfully evoked

Highest Rated Movies








No Score Yet April, April! Director 2013
No Score Yet Dreiklang (Triad) Screenwriter 2013
No Score Yet Stützen der Gesellschaft Director 2012
No Score Yet Schlußakkord (Final Accord) Director Screenwriter 2011
84% Imitation of Life Director 1959
No Score Yet A Time to Love and a Time to Die Director 1958
100% The Tarnished Angels Director 1958
No Score Yet Interlude Director 1957
81% Written on the Wind Director 1957
No Score Yet Battle Hymn Director 1957
No Score Yet Never Say Goodbye Director 1956
No Score Yet There's Always Tomorrow Director 1956
93% All That Heaven Allows Director 1955
No Score Yet Captain Lightfoot Director 1955
43% Sign of the Pagan Director 1954
90% Magnificent Obsession Director 1954
No Score Yet Taza, Son of Cochise Director 1954
100% All I Desire Director 1953
No Score Yet Take Me to Town Director 1953
No Score Yet Has Anybody Seen My Gal? Director 1952
No Score Yet Meet Me at the Fair Director 1952
No Score Yet No Room for the Groom Director 1952
No Score Yet Week-End with Father Director 1951
No Score Yet Thunder on the Hill Director 1951
No Score Yet The First Legion Director Producer 1951
89% Shockproof Director 1949
No Score Yet Slightly French Director 1949
100% Lured Director 1947
No Score Yet Sleep, My Love Director 1947
71% A Scandal in Paris Director 1946
No Score Yet Summer Storm Screenwriter Director 1944
No Score Yet Hitler's Madman Director 1943
No Score Yet Little Rascal Director 1939
No Score Yet To New Shores (Zu Neuen Ufern) Director 1938
No Score Yet La Habanera Director 1937


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