fbpx
Wikipedia

Douglas Sirk

January 01, 1970

Douglas Sirk (born Hans Detlef Sierck; 26 April 1897 – 14 January 1987) was a German film director best known for his work in Hollywood melodramas of the 1950s.[1] However, he also directed comedies, westerns, and war films.[2] Sirk started his career in Germany as a stage and screen director, but he left for Hollywood in 1937 after his Jewish wife was persecuted by the Nazis.

Douglas Sirk
Sirk in 1955
Born
Hans Detlef Sierck

(1897-04-26)26 April 1897
Hamburg, German Empire
Died14 January 1987(1987-01-14) (aged 89)
Lugano, Ticino, Switzerland
Years active1934–1979
Spouses
Lydia Brinken
​
(m. 1929⁠–⁠1934)​
Hilde Jary
​
(m. 1934)​
ChildrenKlaus Detlef Sierck
Poster for the film Written on the Wind

In the 1950s, he achieved his greatest commercial success with film melodramas Magnificent Obsession, All That Heaven Allows, Written on the Wind, A Time to Love and a Time to Die, and Imitation of Life. While those films were initially panned by critics as sentimental women's pictures, they are today widely regarded by film directors, critics, and scholars as masterpieces. His work is seen as a "critique of the bourgeoisie in general and of 1950s America in particular", while painting a "compassionate portrait of characters trapped by social conditions".[3] Beyond the surface of the film, Sirk worked with complex mise-en-scène and lush Technicolor to underline his statements.[4]

Life and work edit

Early life and career in Germany edit

Sirk was born Hans Detlef Sierck on 26 April 1897, in Hamburg, of Danish parentage; his father was a newspaper reporter. He spent a few years in Denmark as a child, before his parents returned to Germany and became citizens. Sirk discovered the theatre in his mid-teens, particularly Shakespeare's history plays, and also began to frequent the cinema, where he first encountered what he later described as "dramas of swollen emotions"; one of his early screen favourites was Danish-born actress Asta Nielsen. In 1919, he enrolled to study law at Munich University, but he left Munich following the violent collapse of a short-lived Bavarian Soviet Republic. Between stints at university, he began writing for his father's newspaper, not long before his father became a school principal.[5]

Sirk continued his studies for a time at the University of Jena before transferring to Hamburg University, where he switched to philosophy and the history of art. It was here that he attended a lecture on relativity given by Albert Einstein. A major influence in this period was art historian Erwin Panofsky - Sirk was a select member of Panofsky's seminar group for a semester and wrote a large essay for him on the relationship between Medieval German painting and the mystery plays; in his 1971 interview with Halliday, Sirk declared, "I owe Panofsky a lot." To support himself while studying, Sirk began working as a second-line dramaturg at the Deutsches Schauspielhaus in Hamburg. In 1922, substituting for a director who had fallen sick, Sirk directed his first production, the Hermann Bossdorf play Bahnmeister Tod ("Stationmaster Death"), which became a surprise success, and from that point Sirk was (in his own words) "lost to the theatre".[5] In addition to the theatre, Sirk worked in many areas of the arts during this formative period - he painted, took a summer job as a set-designer at a Berlin film studio, published his own German translation of Shakespeare's sonnets, translated some of Shakespeare's plays, and published writings of his own.

Schauspielhaus manager Dr Paul Eger offered Sirk a pay raise and the chance to present "one of those crazy modern [i.e. Expressionist ] plays" but Sirk declared that he only wanted to direct "the classics" and took up an offer to become first director at a playhouse in Chemnitz in Saxony. The post proved to be a baptism of fire for the new director - although the company started out with classic works by Molière, Büchner and Strindberg, the season was disrupted when the theatre's main financier and manager gave up and vanished overnight, forcing the cast and crew to form a collective to keep the theatre going, and the program soon changed to comedies and melodramas - "things that made money". Although Sirk later recalled the period as "a pretty terrible time", it was here that he learned his craft, and how to handle actors in "the most strained circumstances". This was during the period of runaway inflation in Germany, and Sirk remembered that after distributing money to the company, they would have to run to the bank with their takings just before midday, because at 12 pm the banks would close their shutters and post the new dollar rate - "... if you got in too late, you had just a small percentage left of what you had earned ..."[5]

With his first wife the actress Lydia Brincken Sirk fathered one son, Klaus Detlef Sierck (1925–1944), born on 30 March 1925 in Berlin-Charlottenburg, Germany. His ex-wife joined the Nazi party and because of Sirk's remarriage to a Jewish woman was able to legally bar him from seeing their son, who became one of the leading child actors of Nazi Germany,[6] known for Die Saat geht auf (1935), Streit um den Knaben Jo (1937) and Kopf hoch, Johannes! (1941). He died as a soldier of the Panzer-Grenadier-Division Großdeutschland on 22 May 1944[7] near Novoaleksandrovka, Kirovograd Oblast, Ukrainian SSR, USSR (now Novooleksandrivka, Kirovohrad Oblast, Ukraine).

By the 1930s Sirk had become one of Germany's leading stage directors, with a list of credits that included a production of Brecht's The Threepenny Opera. Sirk joined UFA (Universum Film AG) studios in 1934, where he directed three shorts, followed by his first feature, April, April (1935), which was filmed in both German and Dutch versions. His exotic melodramas Zu neuen Ufern and La Habanera made a star of the Nazi cinema out of Swedish singer Zarah Leander.

Career in the U.S. edit

 
Sirk and actors on the set of All That Heaven Allows (1955). Left to right: Rock Hudson, Jane Wyman, Sirk, and Agnes Moorehead

Sirk left Germany in 1937 because of his political leanings and his Jewish (second) wife, actress Hilde Jary. Still in Europe he worked on films in Switzerland and the Netherlands. On arrival in the United States, he soon changed his German birth name to Douglas Sirk. By 1942, he was under contract to Columbia Pictures and directing the stridently anti-Nazi Hitler's Madman for Seymour Nebenzal, the legendary producer of Nero-Film, for whom Sirk also directed Summer Storm (1944).

Sirk briefly returned to Germany after the war ended, but returned to the U.S. and established his reputation with a series of lush, colorful melodramas for Universal-International Pictures from 1952 to 1959: Magnificent Obsession (1954), All That Heaven Allows (1955), Written on the Wind (1956), Battle Hymn (1957), The Tarnished Angels (1957), A Time to Love and a Time to Die (1958), and Imitation of Life (1959).

Despite the enormous success of Imitation of Life in 1959 (partially fueled by the scandal surrounding the murder of Lana Turner's boyfriend by her daughter), Sirk left the United States and retired from filmmaking. He died in Lugano, Switzerland, nearly 30 years later, with only a brief return behind the camera in West Germany in the 1970s, teaching at the film school Hochschule für Fernsehen und Film in Munich.

Reputation and legacy edit

Contemporary reception edit

Sirk's melodramas of the 1950s, while highly commercially successful, were generally very poorly received by reviewers. His films were considered unimportant (because they revolve around female and domestic issues), banal (because of their focus on larger-than-life feelings) and unrealistic (because of their conspicuous and distinctive style). Their often melodramatic manner was viewed by critics as being in bad taste.[6]

Later reception edit

Attitudes toward Sirk's films changed drastically in the late 1950s, 1960s and 1970s as his work was re-examined by French, American, and British critics.[6] As Jean-Luc Godard wrote in his review of A Time to Love and a Time to Die (1958), "...I am going to write a madly enthusiastic review of Douglas Sirk's latest film, simply because it set my cheeks afire."[8]

The major critical reappraisal of Sirk began in France with the April 1967 issue of Cahiers du cinéma, which included an extended interview with Sirk by Serge Daney and Jean-Louis Noames, an appreciation by Jean-Louis Comolli ("The Blind Man and the Mirror or The Impossible Cinema of Douglas Sirk"), and a "biofilmographie" compiled by Patrick Brion and Dominique Rabourdin.[9] Leading American critic Andrew Sarris praised Sirk in his 1968 book The American Cinema: Directors and Directions 1929–1968, although Sirk failed to qualify for Sarris' controversial "pantheon" of great directors.[10] From around 1970 there was a burgeoning interest among academic film scholars for Sirk's work - especially his American melodramas. The seminal work in this field was Jon Halliday's book-length interview, Sirk on Sirk (1971) which presented Sirk as "... a sophisticated intellectual, a filmmaker who arrived in Hollywood with a very clear vision, leaving behind him an established career in German theatre and film".

Several major revival seasons of Sirk's films followed over the next few years, including a 20-film retrospective at the 1972 Edinburgh Festival (which Sirk attended), which also generated a book of essays. In 1974 the University of Connecticut Film Society programmed a complete retrospective of the director's American films, and invited Sirk to attend, but on the way to the airport, for the flight to New York, Sirk suffered a haemorrhage that seriously impaired the vision in his left eye.

Analyses of Sirk's work, with their emphases on aspects of Sirk's formerly-criticized style, revealed an oblique criticism of American society hidden beneath a banal facade of plotting conventional for the era - Sirk's films were now seen as masterpieces of irony.[6] The criticism of the 1970s and early 1980s was dominated by an ideological take on Sirk's work, gradually changing from Marxist-inspired visions in the early 1970s, to a focus on gender and sexuality in the late 1970s and early 1980s. Film critic Roger Ebert has said, "To appreciate a film like Written on the Wind probably takes more sophistication to understand than one of Ingmar Bergman's masterpieces, because Bergman's themes are visible and underlined, while with Sirk the style conceals the message."[11]

Sirk's reputation was also helped by a widespread nostalgia for old-fashioned Hollywood films in the 1970s.[12] His work is now widely considered to show excellent control of visuals, extending from lighting and framing to costumes and sets that are saturated with symbolism and shot through with subtle barbs of irony.[13][14]

In popular culture edit

Sirk's films have been quoted in films by directors such as Rainer Werner Fassbinder (whose Ali: Fear Eats the Soul is partly based on All That Heaven Allows)[15] and, later, Quentin Tarantino, Todd Haynes, Pedro Almodóvar, Wong Kar-wai, David Lynch, John Waters and Lars von Trier.

More specifically, Almodóvar's vibrant use of color in 1988's Women on the Verge of a Nervous Breakdown recalls the cinematography of Sirk's films of the 1950s, while Haynes' Far from Heaven was a conscious attempt to replicate a typical Sirk melodrama—in particular All That Heaven Allows.[16] Tarantino paid homage to Sirk and his melodramatic style in Pulp Fiction, when character Vincent Vega, at a '50s-themed restaurant, orders the "Douglas Sirk steak" cooked "bloody as hell". Aki Kaurismäki alluded to Sirk as well; in his silent film, Juha, the villain's sport car is named "Sierck". Sirk was also one of the directors mentioned by Guillermo del Toro in his Oscar acceptance speech for Best Picture for The Shape of Water : "Growing up in Mexico as a kid, I was a big admirer of foreign film. Foreign film, like E.T., William Wyler, or Douglas Sirk, or Frank Capra."[17]

Polyester (1981) directed by Waters was, according to Waters,[18] informed by Sirk's Universal melodramas.[19][20]

Awards edit

Filmography edit

Feature films edit

Short films edit

  • Zwei Windhunde / Zwei Genies (1934)
  • Der eingebildete Kranke (1935)
  • 3 x Ehe (1935)
  • The Christian Brothers at Mont La Salle (1941)
  • Sprich zu mir wie der Regen (1975) co-director with group of film students
  • Sylvesternacht (1977) co-director with group of film students
  • Bourbon Street Blues (1979) co-director with group of film students

Other work edit

References edit

  1. ^ The Criterion Channel's February 2022 Lineup|The Current|The Criterion Collection
  2. ^ "Douglas Sirk | Biography, Movies, Melodramas, & Facts | Britannica". www.britannica.com. Retrieved 12 April 2023.
  3. ^ Sirk, Hollywood and Genre·Senses of Cinema
  4. ^
  5. ^ a b c Jon Halliday and Douglas Sirk, Sirk on Sirk (Faber & Faber, 2011)
  6. ^ a b c d Schiebel, Will (30 April 2017). "Revisiting Douglas Sirk's A Time to Love and a Time to Die". OUPblog. Oxford University Press. Retrieved 30 April 2017.
  7. ^ Claus Detlev Sierck gefallen. Film-Kurier, No. 45, 6 June 1944
  8. ^ Godard, Jean-Luc (1986). Godard on Godard: Critical Writings by Jean-Luc Godard. New York: Da Capo Press.
  9. ^ Tom Ryan, "Douglas Sirk", Senses of Cinema
  10. ^ . Archived from the original on 31 July 2021. Retrieved 19 June 2019.
  11. ^ . Archived from the original on 12 March 2013. Retrieved 28 July 2007.
  12. ^ Klinger, Barbara (1994). Melodrama and Meaning: history, culture, and the films of Douglas Sirk. Bloomington, IN: Indiana University Press.
  13. ^ Movie of the Week: "Written on the Wind"|The New Yorker
  14. ^ DVD of the Week: All That Heaven Allows|The New Yorker
  15. ^ DVD of the Week: Ali: Fear Eats the Soul|The New Yorker
  16. ^ Silberg, Jon (December 2002). "A Scandal in Suburbia". American Cinematographer. Retrieved 13 February 2022.
  17. ^ The Shape of Water wins Best Picture-Oscars on YouTube
  18. ^ #BornThisDay: Filmmaker, Douglas Sirk-The WOW Report
  19. ^ Polyester (1981)|The Criterion Collection
  20. ^ Poleyester (1981)-MUBI
  21. ^ (PDF). www.bayern.de. Archived from the original (PDF) on 19 August 2008. Retrieved 14 January 2022.{{cite web}}: CS1 maint: archived copy as title (link)

Further reading edit

  • Douglas Sirk Bibliography (via UC Berkeley)

External links edit

 
Wikimedia Commons has media related to Douglas Sirk.
  • Douglas Sirk at IMDb
  • "The Films of Douglas Sirk: The Epistemologist of Despair", by Fred Camper
  • Sirk/Anti-Sirk-MUBI on Vimeo

January 01, 1970
douglas, sirk, born, hans, detlef, sierck, april, 1897, january, 1987, german, film, director, best, known, work, hollywood, melodramas, 1950s, however, also, directed, comedies, westerns, films, sirk, started, career, germany, stage, screen, director, left, h. Douglas Sirk born Hans Detlef Sierck 26 April 1897 14 January 1987 was a German film director best known for his work in Hollywood melodramas of the 1950s 1 However he also directed comedies westerns and war films 2 Sirk started his career in Germany as a stage and screen director but he left for Hollywood in 1937 after his Jewish wife was persecuted by the Nazis Douglas SirkSirk in 1955BornHans Detlef Sierck 1897 04 26 26 April 1897Hamburg German EmpireDied14 January 1987 1987 01 14 aged 89 Lugano Ticino SwitzerlandYears active1934 1979SpousesLydia Brinken m 1929 1934 wbr Hilde Jary m 1934 wbr ChildrenKlaus Detlef Sierck Poster for the film Written on the Wind In the 1950s he achieved his greatest commercial success with film melodramas Magnificent Obsession All That Heaven Allows Written on the Wind A Time to Love and a Time to Die and Imitation of Life While those films were initially panned by critics as sentimental women s pictures they are today widely regarded by film directors critics and scholars as masterpieces His work is seen as a critique of the bourgeoisie in general and of 1950s America in particular while painting a compassionate portrait of characters trapped by social conditions 3 Beyond the surface of the film Sirk worked with complex mise en scene and lush Technicolor to underline his statements 4 Contents 1 Life and work 1 1 Early life and career in Germany 1 2 Career in the U S 2 Reputation and legacy 2 1 Contemporary reception 2 2 Later reception 3 In popular culture 4 Awards 5 Filmography 5 1 Feature films 5 2 Short films 5 3 Other work 6 References 7 Further reading 8 External linksLife and work editEarly life and career in Germany edit Sirk was born Hans Detlef Sierck on 26 April 1897 in Hamburg of Danish parentage his father was a newspaper reporter He spent a few years in Denmark as a child before his parents returned to Germany and became citizens Sirk discovered the theatre in his mid teens particularly Shakespeare s history plays and also began to frequent the cinema where he first encountered what he later described as dramas of swollen emotions one of his early screen favourites was Danish born actress Asta Nielsen In 1919 he enrolled to study law at Munich University but he left Munich following the violent collapse of a short lived Bavarian Soviet Republic Between stints at university he began writing for his father s newspaper not long before his father became a school principal 5 Sirk continued his studies for a time at the University of Jena before transferring to Hamburg University where he switched to philosophy and the history of art It was here that he attended a lecture on relativity given by Albert Einstein A major influence in this period was art historian Erwin Panofsky Sirk was a select member of Panofsky s seminar group for a semester and wrote a large essay for him on the relationship between Medieval German painting and the mystery plays in his 1971 interview with Halliday Sirk declared I owe Panofsky a lot To support himself while studying Sirk began working as a second line dramaturg at the Deutsches Schauspielhaus in Hamburg In 1922 substituting for a director who had fallen sick Sirk directed his first production the Hermann Bossdorf play Bahnmeister Tod Stationmaster Death which became a surprise success and from that point Sirk was in his own words lost to the theatre 5 In addition to the theatre Sirk worked in many areas of the arts during this formative period he painted took a summer job as a set designer at a Berlin film studio published his own German translation of Shakespeare s sonnets translated some of Shakespeare s plays and published writings of his own Schauspielhaus manager Dr Paul Eger offered Sirk a pay raise and the chance to present one of those crazy modern i e Expressionist plays but Sirk declared that he only wanted to direct the classics and took up an offer to become first director at a playhouse in Chemnitz in Saxony The post proved to be a baptism of fire for the new director although the company started out with classic works by Moliere Buchner and Strindberg the season was disrupted when the theatre s main financier and manager gave up and vanished overnight forcing the cast and crew to form a collective to keep the theatre going and the program soon changed to comedies and melodramas things that made money Although Sirk later recalled the period as a pretty terrible time it was here that he learned his craft and how to handle actors in the most strained circumstances This was during the period of runaway inflation in Germany and Sirk remembered that after distributing money to the company they would have to run to the bank with their takings just before midday because at 12 pm the banks would close their shutters and post the new dollar rate if you got in too late you had just a small percentage left of what you had earned 5 With his first wife the actress Lydia Brincken Sirk fathered one son Klaus Detlef Sierck 1925 1944 born on 30 March 1925 in Berlin Charlottenburg Germany His ex wife joined the Nazi party and because of Sirk s remarriage to a Jewish woman was able to legally bar him from seeing their son who became one of the leading child actors of Nazi Germany 6 known for Die Saat geht auf 1935 Streit um den Knaben Jo 1937 and Kopf hoch Johannes 1941 He died as a soldier of the Panzer Grenadier Division Grossdeutschland on 22 May 1944 7 near Novoaleksandrovka Kirovograd Oblast Ukrainian SSR USSR now Novooleksandrivka Kirovohrad Oblast Ukraine By the 1930s Sirk had become one of Germany s leading stage directors with a list of credits that included a production of Brecht s The Threepenny Opera Sirk joined UFA Universum Film AG studios in 1934 where he directed three shorts followed by his first feature April April 1935 which was filmed in both German and Dutch versions His exotic melodramas Zu neuen Ufern and La Habanera made a star of the Nazi cinema out of Swedish singer Zarah Leander Career in the U S edit nbsp Sirk and actors on the set of All That Heaven Allows 1955 Left to right Rock Hudson Jane Wyman Sirk and Agnes Moorehead Sirk left Germany in 1937 because of his political leanings and his Jewish second wife actress Hilde Jary Still in Europe he worked on films in Switzerland and the Netherlands On arrival in the United States he soon changed his German birth name to Douglas Sirk By 1942 he was under contract to Columbia Pictures and directing the stridently anti Nazi Hitler s Madman for Seymour Nebenzal the legendary producer of Nero Film for whom Sirk also directed Summer Storm 1944 Sirk briefly returned to Germany after the war ended but returned to the U S and established his reputation with a series of lush colorful melodramas for Universal International Pictures from 1952 to 1959 Magnificent Obsession 1954 All That Heaven Allows 1955 Written on the Wind 1956 Battle Hymn 1957 The Tarnished Angels 1957 A Time to Love and a Time to Die 1958 and Imitation of Life 1959 Despite the enormous success of Imitation of Life in 1959 partially fueled by the scandal surrounding the murder of Lana Turner s boyfriend by her daughter Sirk left the United States and retired from filmmaking He died in Lugano Switzerland nearly 30 years later with only a brief return behind the camera in West Germany in the 1970s teaching at the film school Hochschule fur Fernsehen und Film in Munich Reputation and legacy editContemporary reception edit Sirk s melodramas of the 1950s while highly commercially successful were generally very poorly received by reviewers His films were considered unimportant because they revolve around female and domestic issues banal because of their focus on larger than life feelings and unrealistic because of their conspicuous and distinctive style Their often melodramatic manner was viewed by critics as being in bad taste 6 Later reception edit Attitudes toward Sirk s films changed drastically in the late 1950s 1960s and 1970s as his work was re examined by French American and British critics 6 As Jean Luc Godard wrote in his review of A Time to Love and a Time to Die 1958 I am going to write a madly enthusiastic review of Douglas Sirk s latest film simply because it set my cheeks afire 8 The major critical reappraisal of Sirk began in France with the April 1967 issue of Cahiers du cinema which included an extended interview with Sirk by Serge Daney and Jean Louis Noames an appreciation by Jean Louis Comolli The Blind Man and the Mirror or The Impossible Cinema of Douglas Sirk and a biofilmographie compiled by Patrick Brion and Dominique Rabourdin 9 Leading American critic Andrew Sarris praised Sirk in his 1968 book The American Cinema Directors and Directions 1929 1968 although Sirk failed to qualify for Sarris controversial pantheon of great directors 10 From around 1970 there was a burgeoning interest among academic film scholars for Sirk s work especially his American melodramas The seminal work in this field was Jon Halliday s book length interview Sirk on Sirk 1971 which presented Sirk as a sophisticated intellectual a filmmaker who arrived in Hollywood with a very clear vision leaving behind him an established career in German theatre and film Several major revival seasons of Sirk s films followed over the next few years including a 20 film retrospective at the 1972 Edinburgh Festival which Sirk attended which also generated a book of essays In 1974 the University of Connecticut Film Society programmed a complete retrospective of the director s American films and invited Sirk to attend but on the way to the airport for the flight to New York Sirk suffered a haemorrhage that seriously impaired the vision in his left eye Analyses of Sirk s work with their emphases on aspects of Sirk s formerly criticized style revealed an oblique criticism of American society hidden beneath a banal facade of plotting conventional for the era Sirk s films were now seen as masterpieces of irony 6 The criticism of the 1970s and early 1980s was dominated by an ideological take on Sirk s work gradually changing from Marxist inspired visions in the early 1970s to a focus on gender and sexuality in the late 1970s and early 1980s Film critic Roger Ebert has said To appreciate a film like Written on the Wind probably takes more sophistication to understand than one of Ingmar Bergman s masterpieces because Bergman s themes are visible and underlined while with Sirk the style conceals the message 11 Sirk s reputation was also helped by a widespread nostalgia for old fashioned Hollywood films in the 1970s 12 His work is now widely considered to show excellent control of visuals extending from lighting and framing to costumes and sets that are saturated with symbolism and shot through with subtle barbs of irony 13 14 In popular culture editSirk s films have been quoted in films by directors such as Rainer Werner Fassbinder whose Ali Fear Eats the Soul is partly based on All That Heaven Allows 15 and later Quentin Tarantino Todd Haynes Pedro Almodovar Wong Kar wai David Lynch John Waters and Lars von Trier More specifically Almodovar s vibrant use of color in 1988 s Women on the Verge of a Nervous Breakdown recalls the cinematography of Sirk s films of the 1950s while Haynes Far from Heaven was a conscious attempt to replicate a typical Sirk melodrama in particular All That Heaven Allows 16 Tarantino paid homage to Sirk and his melodramatic style in Pulp Fiction when character Vincent Vega at a 50s themed restaurant orders the Douglas Sirk steak cooked bloody as hell Aki Kaurismaki alluded to Sirk as well in his silent film Juha the villain s sport car is named Sierck Sirk was also one of the directors mentioned by Guillermo del Toro in his Oscar acceptance speech for Best Picture for The Shape of Water Growing up in Mexico as a kid I was a big admirer of foreign film Foreign film like E T William Wyler or Douglas Sirk or Frank Capra 17 Polyester 1981 directed by Waters was according to Waters 18 informed by Sirk s Universal melodramas 19 20 Awards edit1985 Bavarian Film Award Honorary Award 21 Filmography editFeature films edit April April 1935 t Was een April 1936 Dutch language version of April April The Girl from the Marsh Croft 1935 Pillars of Society 1935 Schlussakkord 1936 The Court Concert 1936 La Chanson du souvenir 1936 co director French language version of The Court Concert To New Shores 1937 La Habanera 1937 Final Accord 1938 uncredited Boefje 1939 Hitler s Madman 1943 Summer Storm 1944 A Scandal in Paris 1946 Lured 1947 Sleep My Love 1948 Shockproof 1949 Slightly French 1949 Mystery Submarine 1950 The First Legion 1951 Thunder on the Hill 1951 The Lady Pays Off 1951 Week End with Father 1951 No Room for the Groom 1952 Has Anybody Seen My Gal 1952 Meet Me at the Fair 1953 Take Me to Town 1953 All I Desire 1953 Taza Son of Cochise 1954 Magnificent Obsession 1954 Sign of the Pagan 1954 Captain Lightfoot 1955 All That Heaven Allows 1955 There s Always Tomorrow 1956 Written on the Wind 1956 Battle Hymn 1957 Interlude 1957 The Tarnished Angels 1957 A Time to Love and a Time to Die 1958 Imitation of Life 1959 Short films edit Zwei Windhunde Zwei Genies 1934 Der eingebildete Kranke 1935 3 x Ehe 1935 The Christian Brothers at Mont La Salle 1941 Sprich zu mir wie der Regen 1975 co director with group of film students Sylvesternacht 1977 co director with group of film students Bourbon Street Blues 1979 co director with group of film students Other work edit Darling of the Sailors 1937 co screenwriter The Strange Woman 1946 uncredited supervisor of reshoots Never Say Goodbye 1956 uncredited supervisor of reshoots References edit The Criterion Channel s February 2022 Lineup The Current The Criterion Collection Douglas Sirk Biography Movies Melodramas amp Facts Britannica www britannica com Retrieved 12 April 2023 Sirk Hollywood and Genre Senses of Cinema Douglas Sirk Melodramas The Criterion Channel a b c Jon Halliday and Douglas Sirk Sirk on Sirk Faber amp Faber 2011 a b c d Schiebel Will 30 April 2017 Revisiting Douglas Sirk s A Time to Love and a Time to Die OUPblog Oxford University Press Retrieved 30 April 2017 Claus Detlev Sierck gefallen Film Kurier No 45 6 June 1944 Godard Jean Luc 1986 Godard on Godard Critical Writings by Jean Luc Godard New York Da Capo Press Tom Ryan Douglas Sirk Senses of Cinema TSPDT Andrew Sarris Director Categories from The American Cinema Directors and Directions 1929 1968 Archived from the original on 31 July 2021 Retrieved 19 June 2019 rogerebert com Great Movies Written on the Wind xhtml Archived from the original on 12 March 2013 Retrieved 28 July 2007 Klinger Barbara 1994 Melodrama and Meaning history culture and the films of Douglas Sirk Bloomington IN Indiana University Press Movie of the Week Written on the Wind The New Yorker DVD of the Week All That Heaven Allows The New Yorker DVD of the Week Ali Fear Eats the Soul The New Yorker Silberg Jon December 2002 A Scandal in Suburbia American Cinematographer Retrieved 13 February 2022 The Shape of Water wins Best Picture Oscars on YouTube BornThisDay Filmmaker Douglas Sirk The WOW Report Polyester 1981 The Criterion Collection Poleyester 1981 MUBI Archived copy PDF www bayern de Archived from the original PDF on 19 August 2008 Retrieved 14 January 2022 a href Template Cite web html title Template Cite web cite web a CS1 maint archived copy as title link Further reading editDouglas Sirk Bibliography via UC Berkeley External links edit nbsp Wikimedia Commons has media related to Douglas Sirk Douglas Sirk at IMDb The Films of Douglas Sirk The Epistemologist of Despair by Fred Camper Sirk Anti Sirk MUBI on Vimeo Retrieved from https en wikipedia org w index php title Douglas Sirk amp oldid 1209221468, wikipedia, wiki, book, books, library,

article

, read, download, free, free download, mp3, video, mp4, 3gp, jpg, jpeg, gif, png, picture, music, song, movie, book, game, games.