Sirk, Douglas, 1897-1987

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Information for Authority record

Name (Hebrew)
סירק, דאגלס, 1897-1987
Name (Latin)
Sirk, Douglas, 1897-1987
Other forms of name
Sierck, Hans Detlef, 1897-1987
Sierck, Claus Detler, 1897-1987
Sierck, Detlef, 1897-1987
Sierck, Detlev, 1897-1987
Sirk, Douglas
Date of birth
1897-04-26
Date of death
1987-01-14
Field of activity
Motion picture authorship
Motion pictures--Production and direction
Occupation
Motion picture producers and directors
Screenwriters
Associated Language
eng
Gender
male
Biographical or Historical Data
orig. name: Hans Detlef Sierck
MARC
MARC

Other Identifiers

VIAF: 14911756
Wikidata: Q60858
Library of congress: n 79063051
OCoLC: oca00296002
Sources of Information
  • Information from 678 converted Dec. 17, 2014(orig. name: Hans Detlef Sierck)
  • His Sirk on Sirk, 1972.
  • NUCMC files(Sirk, Douglas, 1900-1987)
  • Washington Post, 1/17/87(Douglas Sirk, 86, German-born film director, d. Jan. 14, 1987 in Lugano, Switzerland)
  • Imitation of life, c1991:CIP t.p. (Douglas Sirk) pub. info. (Claus Detler Sierck)
  • Internet movie database, Sept. 27, 2002(Douglas Sirk; birth name, Claus Detlef Sierck; b. Apr. 26, 1900 in Hamburg, Germany; sometimes credited as Detlef Sierck, Detlev Sierck)
  • IMDb, July 27, 2005(Douglas Sirk; b. Apr. 26, 1897, Hamburg, Germany; d. Jan. 14, 1987, Lugano, Switzerland; sometimes credited as Detlef Sierck, Detlev Sierck; birth name: Hans Detlef Sierck; director, writer, producer)
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Wikipedia description:

Douglas Sirk (born Hans Detlef Sierck; 26 April 1897 – 14 January 1987) was a German film director best known for the film melodramas he directed in Hollywood during the 1950s. However, he also directed comedies, westerns, and war films. Sirk started his career in Germany during the Weimar period as a stage and screen director, but he left for Hollywood in 1937 after his Jewish wife was persecuted by the Nazis. In the 1950s, he achieved his greatest commercial success with the films Magnificent Obsession, All That Heaven Allows, Written on the Wind, A Time to Love and a Time to Die, and Imitation of Life. While those films were initially panned by critics as sentimental women's pictures, they are today widely regarded by film directors, critics, and scholars as masterpieces. His work is seen as a "critique of the bourgeoisie in general and of 1950s America in particular", while painting a "compassionate portrait of characters trapped by social conditions". Beyond the surface of the film, Sirk worked with complex mise-en-scène and lush Technicolor to underline his statements.

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