How many films open with a close up of ducks in a bath? The only one that comes to mind is Imitation of Life (1934). And it lifts off from there. The other occupant of the bath is the infant daughter of widowed Claudette Colbert. As chance has it, there is a knock at the door from Louise Beavers, a black woman who is also a single parent who offers to work in the household. The women strike a bond which combines the cooking skills of one with the marketing prowess of the other (no prizes for guessing this division of labour).
All this was bold for the Thirties. It is based on a novel by Fannie Hurst, who, after a struggle, became a bestselling, often-filmed author much given to social issues which, such is fame, was to have her consigned to relative oblivion after a long life; signs are, she is becoming esteemed again. As for this film, directed by John Stuhl, it is as bright as ever (Preston Sturges had a hand in the script).
There is a schematic shape to it all. As the enterprise grows, so do the daughters, which, as always brings new problems, not least an amatory tangle as bold for the time as the racial one (partly driven by a case of “passing” which had been the subject of Nella Larsen's eponymous novel (1929)). There are moments, including death, when it appears to become maudlin, but the script – as well as the camera – pulls back, and moves on at a pace which makes one surprised to find that it has lasted almost two hours. One can never miss an appearance by Claudette Colbert – and must wish that Louise Beavers had been to the for more often.
This is a great film, but be warned if you are hard of hearing - there is no subtitle option. A working widow goes into business with a poor black woman. There is some fantasy in the details of this film, but at its heart is the real situation of the black woman's daughter, Peola, who is light-skinned enough to pass as white, and doesn't want to be black.