Bea Pullman and her daughter Jessie have had a hard time making ends meet since Bea's husband died. Help comes in the form of Delilah Johnson, who agrees to work as Bea's housekeeper in ...
See full summary »
A struggling young actress with a six year-old daughter sets up housekeeping with a homeless black widow and her light-skinned eight year-old daughter who rejects her mother by trying to pass for white.
Bea Pullman and her daughter Jessie have had a hard time making ends meet since Bea's husband died. Help comes in the form of Delilah Johnson, who agrees to work as Bea's housekeeper in exchange for a room for herself and her daughter Peola. Bea comes up with a plan to market Delilah's pancake recipe. The two soon become wealthy and as the years go on, their friendship deepens. Their relationships with their daughters, however, become strained. Ashamed of her mother, Peola seeks a new life by passing for white. Bea's love for her daughter is tested when she and Jessie fall for the same man. Written by
Although cast as the daughter of Louise Beavers (Delilah), Fredi Washington (Peola, age 19) was in reality less than two years younger than her onscreen mother. She was, however, considerably slimmer than the matronly Beavers, which enabled the pair to "pass" as mother and daughter. See more »
When baby Jessie falls into the bathtub going after her rubber ducky, there is an obvious edit between her falling in and the splash of water coming out of the tub. Note the shifting of the towel and the shadows from the light coming in through the window on the tile wall behind the tub. See more »
Reissue prints of this film, issued after Carl Laemmle's ouster and retirement from Universal, read "The New Universal Presents [Claudette Colbert and Warren William in 'Imitation of Life']" rather than "Carl Laemmle Presents [Claudette Colbert and Warren William in 'Imitation of Life']" See more »
Nobody Knows de Trouble I've Seen
Traditional Negro Spiritual
Lyrics by Henry Thacker Burleigh
Played and sung by an offscreen chorus during the opening credits
Played as background music often See more »
I find the movie aptly named. My motivation for responding is due to an earlier opinion on this movie, specifically: "the central character of Delilah is the worst kind of racial stereotype; a relentlessly cheerful mammy, perfectly satisfied to spend her life tending to the needs of her white employer". I am an American Black (African-American) and I do not find Delilah offensive. In fact I applaud the reflection of honesty that this 1934 film attempts. The "mammy" of that time period had very few choices. That she was happy to help her very nice white employer for the safety provided does not make for a hate figure by Blacks. It makes for a reminder of the intense level of crap Black folks went through and how they dealt with the pain of it to stay honest, kind and helpful people. Should Delilah lived in the streets and hated white people the rest of her life? Should she have not had the fortitude and insight to find a situation with another caring human being, albeit this other human was white? And for this she is lauded as a the worst kind of racial stereotype? No. The answer is a resounding NO. Now if Delilah was beaten and raped on a regular basis and still wanted to please her white employer while denying her race the previous poster would have had a point.
Okay, I really didn't like the mournful gospel music, R&B would have made this movie perfect to me but that's just me. Live and Love. There is no shame in being a good person.
41 of 49 people found this review helpful.
Was this review helpful to you?