Review of Imitation of Life (1934) by Suzanne S — 24 Jul 2010

Fine acting (Ned Sparks is a gem!) and direction and worth watching for the window it gives us into an earlier generation's views on racism. Perhaps not surprisingly, the movie shies away from genuinely exploring the issues of racism that it raises. Although it promotes racial tolerance and social acceptance, the film accepts the power structure and hierarchy of its time. Rather than challenge the view that "black is a horrible thing to call someone," it strongly suggests that true happiness is found in accepting one's "place" in life. Louise Beavers' character attains near sainthood for her willing self-sacrifice and cheerful deference to Claudette Colbert's; in all but name, she functions as Colbert's "Mammy," going so far as to rub her feet after a hard day peddling syrup. Colbert's duty is a sort of white noblesse oblige. She plays the adult to Beavers' adolescent, providing her with a home and managing her financial affairs.

Beavers' daughter, played as an adult by Fredi Washington, is sent to a "Negro college" in the south, where she will be more "comfortable" and not assaulted daily with the disparity between her status and that of the white students. The obvious hope is that she will learn to accept her second-class status, rather than develop a sense of pride in her racial heritage.

The film never answers the questions that Washington's character raises. Why, if she is so light-skinned, is she considered "black?" What does it mean to be "black" or, for that matter, to be "white?" Why, if she is as intelligent and capable and independent and strong-minded as she is, must she accept the role of an underling for life? Why are blacks permitted to fill professional roles only within the black community? The only blacks in authority that we see are at the black church in the funeral scene. Although Beavers' nurse is black, the doctor is white.

While we see much of Colbert's private life, we see nothing of Beavers', and are unaware that she has one until moments before her death, when we are told that dues to her lodges are all current and that she is a member in good standing of her church, and at her funeral when lodge members march in what appears to be a jazz funeral procession.

Unexpected in a film that celebrates female independence and entrepreneurship is the strong sexism of the final scene. Beavers' character is presented not only as the ideal Negro, but as the ideal mother -- one who sacrifices all for her child, so we have the final scene, where Colbert ultimately sacrifices her happiness for what she perceives as her adult daughter's. We can't mistake the meaning of this, as it follows directly upon the words of Washington's character in the funeral scene, praising her mother for putting her daughter before herself and sacrificing everything for her. Apparently the only women who have a right to a personal life are those who have no children of any age.