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Ten Great Sirk Films

by Dale Wittig
When I was a junior at EO Smith High School at the University of CT I started attending the UConn Film Society screenings three time a week. I bought the semester pass. I was very surprised to see movies I had watched as a small child on the local TV station’s morning movie show aimed at housewives, Home Maker’s Movie, specifically the films of Douglas Sirk, which were then being shown as double features every Thursday night. Among the Sirk movies I saw then were: Take me to Town, All I Desire, There’s Always Tomorrow, Has Anybody Seen my Gal, and All that Heaven Allows. I was resistant at first, but eventually found that they had worked… Read more

When I was a junior at EO Smith High School at the University of CT I started attending the UConn Film Society screenings three time a week. I bought the semester pass. I was very surprised to see movies I had watched as a small child on the local TV station’s morning movie show aimed at housewives, Home Maker’s Movie, specifically the films of Douglas Sirk, which were then being shown as double features every Thursday night. Among the Sirk movies I saw then were: Take me to Town, All I Desire, There’s Always Tomorrow, Has Anybody Seen my Gal, and All that Heaven Allows. I was resistant at first, but eventually found that they had worked their ways into my consciousness more thoroughly than most of the so called classics that I had read about beforehand in the many volumes of Film Criticism I was then busy devouring. Oh, and iconic as his three lushly colored masterpieces (All that Heaven Allows, Written on the Wind and Imitation of Life) may be, his work in black and white is just as well composed.

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