A box office smash and critical bust during his Hollywood career, director Douglas Sirk's artistic stature began to catch up with his popular success in the decades following his early retirement. Championed by auteurist critics and cineaste directors, Sirk's once-reviled melodramas evolved into an inspired blend of bathos and Brechtian distance, with the over the top histrionics of such films as Written on the Wind (1956) and Imitation of Life (1959) becoming deluxe tearjerking material as well as a mordant commentary on American values. Born Claus Detlev Sierck to Danish parents, Sirk headed to Germany in his teens to study drama and art history. Sirk forged a career as a successful theater director in Germany, staging works by such writers as Bertolt Brecht. After the Nazis came to power, Sirk shifted to film in 1934, directing stylishly assured melodramas, musicals, and star vehicles for UFA diva Zarah Leander. The left-wing director and his Jewish wife, however, left Germany in 1937, heading to the U.S. via several countries. Unknown in Hollywood, the newly renamed Sirk kicked around the studios for several years, finally receiving his first directorial assignment with the propaganda potboiler Hitler's Madmen (1943). Working for United Artists and Columbia throughout the 1940s, Sirk became a reliable journeyman, taking on projects from the Chekhov adaptation Summer Storm (1944) to the Lucille Ball crime drama Lured (1947) and a musical comedy Slightly French (1948). Sirk's taste for Baroque visuals served him well with the films noir Sleep, My Love (1948) and Shockproof (1949) (co-written by Sam Fuller).
Signing a contract with Universal in 1950, Sirk tried to make the best of the "impossible stories" assigned him. Along with churning out such comedies and musicals as The Lady Pays Off (1951) and Has Anybody Seen My Gal? (1952), Sirk also dealt with new technology, directing a 3-D Western Taza, Son of Cochise (1954), starring contract player Rock Hudson as Taza, and a CinemaScope adventure yarn Sign of the Pagan (1954). Another 1954 release, however, transformed Sirk into a studio moneymaker and future auteur darling. Remaking the 1935 soaper (from a novel he deemed unreadable), Sirk staged Magnificent Obsession's patently absurd story of reformed playboy Rock Hudson's relationship with blind widow Jane Wyman in gaudy Technicolor, matching the tale's fevered emotionalism. A substantial hit, Magnificent Obsession made Hudson a star and began a successful collaboration between Sirk, Hudson, producer Ross Hunter, and cinematographer Russell Metty.
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