| | LA Weekly: Film Feature: All That Hollywood Allowed |
 | | Sirk's luxuriant adaptations of moralistic best-sellers by Lloyd C. Douglas and Fannie Hurst have long since transcended the circumstances of their production to emerge as the work of the greatest Technicolor Expressionist of the late studio era, surpassing even Vincente Minnelli and Nicholas Ray. |
 | | Throughout the '50s, Sirk repeatedly filled cinemas with the rustle of starchy linen and the muffling of housewives' tears, and for years the standard perception of him was of a giant ghettoized within the confines of the genre then patronizingly called the "women's picture," toiling on overripe, ludicrous material several stories beneath his considerable talents. |
 | | Implicit in both views is the consoling delusion that Sirk was somehow enslaved by the philistines at Universal, that he was forced to work on airheaded weepies without redeeming social merit, and that he had to smuggle in all those subversive elements that characterize his best work. |
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