‘Film is like a battleground’ Sam Fuller, who once wrote a script footnote1 for Douglas Sirk, said in a film by Jean-Luc Godard, who, shortly before he made A Bout de Souffle, wrote a rhapsody on Douglas Sirk’s A Time to Love and a Time to Die. footnote2 But not one of us, Godard or Fuller or me or anybody else, can touch Douglas Sirk. Sirk has said: ‘cinema is blood, is tears, violence, hate, death, and love’. And Sirk has made films with blood, with tears, with violence, hate—films with death and films with love. Sirk has said: you can’t make films about things, you can only make films with things, with people, with light, with flowers, with mirrors, with blood, in fact with all the fantastic things which make life worth living. Sirk has also said: a director’s philosophy is lighting and camera angles. And Sirk has made the tenderest films I know, they are the films of someone who loves people and doesn’t despise them as we do. Darryl F. Zanuck once said to Sirk: ‘They’ve got to like the movie in Kansas City and in Singapore.’ America is really something else.
Douglas Sirk had a grandmother, she wrote poems and had black hair. In those days Douglas was still called Detlef and lived in Denmark. As it happened the Nordic countries around 1910 produced their own films, specializing particularly in big human dramas. And so little Detlef and his poetry-writing grandmother went to the tiny Danish cinema and cried their eyes out, over and over again, at the tragic death of Asta Nielsen and many other beautiful ladies with pale, pale makeup. They could only go secretly, because Detlef Sierck was supposed to be brought up in the German tradition, have a proper classical education, and so one day his love for Asta Nielsen gave way to a love for Clytemnestra. He worked in the theatre in Germany: in Bremen, Chemnitz, Hamburg, Leipzig; he was an educated man who was also cultured. He counted Max Brod among his friends, knew Kafka’s work and so on. He seemed to be embarking on a career which could have led to the directorship of the Munich Residenztheater. But no, in 1937, having made a few films in Germany for ufa, Detlef Sierck emigrated to America, became Douglas Sirk and made films which, among people of his sort of background in Germany, would merely raise a smile.
all that heaven allows
So it happens that you can meet a man in Lugano, in Switzerland, who
It’s a pretty abysmal start for the love of one’s life. She, he and the world they live in. Basically that’s how it seems. She has a motherly touch, she looks as though she might be able to soften at the right moment: we can understand what Rock sees in her. He is a tree trunk. He is quite right to want to be inside her. The world around is evil. The women all talk too much. There are no men in the film apart from Rock, in that respect armchairs and glasses are more important. After seeing this film small town America is the last place in the world I would want to go. What it amounts to is that somewhere along the line Jane tells Rock that she is going to leave him, because of her idiotic children and so on. Rock doesn’t protest too much, he still has Nature, after all. And there Jane sits on Christmas Eve, her children are going to leave her anyway and they’ve brought her a television set for Christmas. It’s too much. It tells you something about the world and what it does to you. Later on, Jane goes back to Rock because she has headaches, which is what happens to us all if we don’t fuck once in a while. But now she’s back there’s still no happy ending. If anyone has made their love life that complicated for themselves they won’t be able to live happily afterwards.