Given her personal life, Lana Turner would seem ideally suited for a movie detailing the problematic relationship between a single mother and her teenage daughter. Indeed it was one of her greatest successes as she is excellent. The plot concerns Lora Meredith, a struggling white widow with a child who befriends Annie Johnson, a single black mother whose husband has likewise passed on. Driven by ambition to succeed as an aspiring actress, she often makes self-serving concessions in her life. Lora regularly relies on her new friend’s assistance in raising her daughter, Susie. But Annie has issues dealing with her own daughter, Sarah Jane, who is so light skinned she appears to be white. This becomes a source of contention for the little girl, embarrassed to have a mother who is black. The story touches on everything from strained families and unrequited crushes to the casting couch and racial inequality. Melodramatic? Very, but in a tremendously enjoyable way. It does seem dated, but entertains despite, or perhaps because of it. Juanita Moore is most engaging as the selfless Annie. She’s sincere, sweet and dignified. She rightfully received an Oscar nomination for her part. Also receiving a nomination was Susan Kohner as the daughter who resents her. Her performance, however, is much more overwrought. The script doesn’t present her as fully formed a character in the way that her actions don’t always seem reasonable, especially to a modern audience.
Artificial soap opera dressed up as exquisite drama has all the hallmarks of a Douglas Sirk Hollywood picture. It’s colorful, glossy and unapologetically old-fashioned. At first glance it‘s easy to be mesmerized by the well appointed sets, lavish costumes, and cinematography. But beneath the stylish surface, the action casually unfolds as a harsh critique of contemporary American 1950s society. It’s (thankfully) a subtle theme, one that slowly creeps up on you well after the film is over.
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