 "Dark Victory - A Classic" | 2009-10-21 |
| - Reviewed By yoakum1977 |
| Bette Davis almost always fabulous is great here too. I love Dark Victory & Now Voyager the way I love Joan Crawford in Mildred Pierce. Old Movie buffs this is one for you!Dark Victory (Restored and Remastered Edition) |
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| "One of Bette's Best" | 2009-10-07 |
| - Reviewed By theoz69 |
First things first:
The transfer is crisp and clean overall and the special features (which I usually don't bother with)are fun and interesting. Bette's heyday in the 30's and 40's in which she did her best work in my opinion (She was called "The 5th Warner Brother" and was the undisputed Queen of The Lot. Here, she's at once,willful,high-strung,and at the last,heroic. But what she is here is watchable and it should be no surprise to someone unfamiliar with her work (if such a one exists!) why she was so successful |
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| "Classic Drama/Romance. Another Oscar-Worthy Performance From The Queen Of Mean (Just Kidding)." | 2009-10-01 |
| - Reviewed By shakespearefanatic |
| Bette Davis, recently fresh from her Academy Award winning performance in William Wyler's "Jezebel," gives another Oscar-worthy performance in this searing drama, which reunites her with "Jezebel" co-star George Brent. Excellent film. Highly recommended. |
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| "The Victory is Assured" | 2009-10-01 |
| - Reviewed By tennis52 |
I'm watching this for the first time and I know it is a well-deserved classic film. Kitsch-fest according to Pauline Kael, I think it is actually the best pre-war propaganda film ever made. What subliminal stuff! It's released in 1939. Staged among the smart set on Long Island, in the usual way those enviable plutocrats were put before a Depression-ravaged public so that they could live vicariously in great houses and nightclubs while sitting in the darkened theatre. But here (and perhaps this is where "kitsch" may be said to come into it), the rich girl is very ill, more ill than any of the (mostly poorer) audience is likely to be in a lifetime. She is doomed. She has to change her attitude to one of hope, in the face of mortality. When this film was released, my father was a teenager on Long Island, waiting for what he knew was an eventual involvement of the US in the European war. Not as rich as Judith (the warrior princess) Traherne (Bette Davis), but secure, and from the stock which had originally settled the place, the Puritans from whom Judith confessed to have sprung (all the while resenting their inhibiting influence on her sex life). The tumor in her head is once partly excised (The War to End All Wars didn't quite put Europe into the shape it was supposed to), but it is coming back and it is going to blind her (and we are going to go to another war) and her social life is definitely going to be upended. Victory may be dark, but it is victory if you can face death without flinching. Ronald Reagan is in it too, playing Mr. Sang Froid (he will later quip in real life with the doctors who saved him from an assassin's bullet). This is about the quiet before the storm. But all the classes are united. "Where is peace?" Judith asks. Peace is within you, because it sure as heck isn't in the world or in the body itself, so prone to betrayal. Maybe the Puritans had something there. Recurrent wars and recurrent tumors, are just part of the fallen world. The people of spirit stand up to it. (Her doctor husband says, "We just pretend that nothing is going to happen", but the fact that this is said so explicitly, means that the fiction is understood by all parties as such). The script is full of all these allusions to how people were feeling, as peace was on its last legs. Many who watched the film were as doomed as the heroine, with just as many years of future survival to expect. There's a song in it about time and how fleeting it is. Judith sings along. "It is a victory (over the dark) because we're not afraid." The sick wife sends her doctor husband off to fight the foe of cancer, knowing he will never see her again. She plants the hyacinths so that in the spring, when she is dead, they will return (in Greek legend, they spring from the blood of a dying hero). "Give them champagne and be gay. Be very, very gay." When they celebrate the victory which is assured.
I am sure this is not the conventional view of the film, which is generally treated as a vehicle for Ms. Davis, who acquired it as such. But if you put on the spectacles of the people who lived when it was made, there is another interpretation which may in fact be valid too. Dah-Dah-Dah-DAH! |
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 "Davis' Definitive Vehicle Rests on Her Still Brilliant Performance" | 2009-08-24 |
| - Reviewed By ed_uyeshima |
Coming in the middle of her tumultuous, 18-year reign as Queen of the Warner Bros. studio, this classic 1939 tearjerker proved to be the ideal vehicle for the mercurial talents of Bette Davis in her prime in a year marked by so many other memorable films. Adapted by longtime studio screenwriter Casey Robinson from a short-lived 1934 Broadway play, the story involves Judith Traherne, a frivolous, self-absorbed heiress, living hard in the fast lane at 23, who finds herself confronting her own mortality with the discovery of an inoperable brain tumor. Naturally, she denies anything is wrong with her at first but faces the reality of her condition by eventually rising to the occasion with courage and integrity. It has been the subject of many parodies and at least two remakes in the past seventy years, but the original still works best thanks to Davis' career-defining performance.
Besides Davis and Max Steiner's equally emotional score, the movie itself has not aged as well due to the pedestrian work of director Edmund Goulding (Grand Hotel) in guiding the venture and lackluster contributions from the supporting cast, one of whom is seriously miscast In hindsight. Judith's Long Island social world is full of hard-drinking party types like the perpetually drunk Alec who tries to woo her into marriage. He's not the only one as Irish stable hand Michael is equally smitten with Judith, but there's the social class distinction to consider. The novelty is that a young Ronald Reagan plays Alec and Humphrey Bogart, two years from his breakthrough in The Maltese Falcon, plays Michael. Reagan does not make much of an impact, but Bogart is sorely miscast as Michael to the point of being distracting as Davis blows him off the screen, in particular, a late-night failed seduction scene when she dismissively half-asks him, "You're making love to me, aren't you?"
However, it is Judith's steady best friend Ann and especially the stalwart brain-cell specialist Dr. Steele who help Judith in her true victory over the dark. Both Geraldine Fitzgerald and constant Davis co-star George Brent do solid work in the roles, but nothing nearly at Davis' caliber. Perhaps this was intentional, but it does make for an odd imbalance to the film. Regardless, the last twenty minutes pull at the requisite heartstrings as Judith faces her fate with a heavenly choir. It's a grand Davis sequence worthy of her legacy. The print in the 2005 DVD release is nicely restored. Film historian James Ursini and CNN film critic Paul Clinton provide a perceptive commentary track, and there is a short featurette that explains how the film's reputation has unfairly suffered over the years. See the film itself for the vibrancy and depth of Davis' performance which hasn't aged a bit. |
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