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Why this might not seem so easy Depending on who you ask, Douglas Sirk was either a peddler of gaudy sentiment or one of the most stylish and slyly subversive directors to have worked in Hollywood’s golden age. One of many filmmaking émigrés who fled from Europe to California at the beginning of the Second World War, the German-born Sirk parted ways with his homeland after a brief and begrudging stint in Nazi-controlled UFA. Appropriately enough, his American debut was entitled Hitler’s Madman (1943). Sirk had a particular affinity for what he called “dramas of swollen emotion”. He took a nigh-on operatic approach to cinematic melodrama, best exemplified in a cycle of ‘women’s weepies’ he made during the 1950s, the final decade of his career. These films were successful at the box office but, for the most part, critically reviled in their time. But as was the case for many of his fellow ‘low art’ contemporaries, Sirkâ�

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