Born to Be Bad

Most people remember Nicholas Ray for his most famous films, Rebel Without A Cause and Johnny Guitar being the ones most talked about . Born To Be Bad is ensconced in the category reserved for ignored treasures and guilty pleasures, since Director Ray's characteristic "signature" as a director was just as canny in this film as in any of his lesser discussed works, On Dangerous Ground (which also featured Robert Ryan) being another example. This reviewer sees the same sophistication in Born To Be Bad as in another 50s Ray piece, In A Lonely Place; Born To Be Bad is just as cynical in its own way, guised as a superficially lighter "high society" melodrama. Although there are no dark staircases, ominous shadows or oblique camera angles here, Born To Be Bad has subterfuge and alienation at its core in Joan Fontaine's central character, Christabel Caine. The misery depicted here is the type that afflicts the rich and the venal, where wealth, not poverty, is the variable behind their alienation, and their betrayals are carried out in swank apartments and elite mansions instead of typical "noir" territory. The stylistic dimensions of the film aside, Born To Be Bad also features Robert Ryan and Joan Fontaine together romantically. For Ryan devotees searching for the few romantic roles that came his way, they should certainly see the film: the chemistry between Ryan and Fontaine simmers in furtive trysts that were somewhat risque for cinema of that era (a comparable romance between Ryan and a female lead can also be found in the 1952 "noir" masterpiece, Clash By Night). Still available on laserdisc, Born To Be Bad features a crystal clear video transfer worthy of any film buff.

Unscrupulous Christabel uses her wiles to break up her cousin's engagement to a wealthy man so she can marry him herself.

Considering the talent involved, the movie's a disappointment. The plot turns on the scheming Christabel and her ability to attract men. The trouble is Fontaine looks more like a wallflower than a temptress since neither costuming nor make-up has done her rather plain looks any favors. Thus, having her out-compete the vibrant, young Donna (Leslie) for Curtis's (Scott) affections, becomes a real stretch. Then too, Fontaine underplays the role, perhaps to a fault, such that it can't be her winning personality that gets the men. So what we're left with in the movie's middle is a credibility gap where there should be a compelling presence.

At the same time, the results suggest any one of a hundred Hollywood directors could have helmed the workman-like production. Looks to me like cult director Ray found nothing to engage his formidable talents and simply went through the motions. I suspect he took the script on assignment, viewing the project mainly as a vehicle for its celebrity-star.

On the other hand, is the colorful array of male cast members— a commanding Robert Ryan, a shrewd Mel Ferrer, and a sympathetic Zachary Scott (for once). In fact, Ryan's dark features and towering masculinity as Nick almost blot out Fontaine's recessive presence in their scenes together. As Christabel's secret lover, he's totally believable even when she isn't. Add to them, the lovely young Leslie, who shows an impressive range as both trusting soul and wronged woman, and the movie does have its compensations, including a well-calculated ending.

Nonetheless, the film as a whole fails to gel, suggesting that Fontaine the actress is much better at playing the innocent rather than the wanton.

I was pleasantly surprised with how much I enjoyed BORN TO BE BAD (1950). The plot, about a woman who infiltrates a circle of friends and destroys their relationships, suggests a lot of melodrama. But the movie is buoyed by an excellent cast of characters and a script that sparkles with wit.

There is drama, to be sure, but there's some nice humor that comes from the characters and their relationships with one another. Nothing gets so serious that somebody pulls a gun or commits suicide or anything. There are no shrill histrionics. The movie is a little racy for Hayes Code fare, but it's not terribly dark or gritty. It's a rather pleasant tale about a selfish woman who only hurts herself in the end.

Robert Ryan is great as the cynical, rough-edged author. Mel Ferrer is great as the witty painter. Joan Fontaine is lovely as always as the maneater who conceals her scheming behind a façade of sweet innocence. This is a sexier, sneakier Joan Fontaine than viewers may be accustomed to. Joan Leslie, still only twenty-five, is fine in her adult role, after years of playing ingenues. Zachary Scott rounds out the principal cast as Leslie's rich fiancé.

Nicholas Ray deftly handles the directing duties, in both the busy party scenes and the noir-ish love scenes.

The movie isn't very deep or compelling, but it is very watchable thanks to the terrific performances and some wonderfully witty lines. Robert Ryan steals the show.

If you've enjoyed Joan Fontaine's endearing performances in REBECCA or SUSPICION, check out this movie for an entirely different turn of character.

Joan plays Christabel, a woman with nice curves who's got all the angles, too. She's a classic manipulator, and the fun of the movie is watching her try to keep up her false appearances as she runs recklessly through the lives around her -- society friends, sick relatives, a thin-mustached rich playboy, and the rugged novelist guy who sees through her and loves her still.

The performance is one of shifting eyes, deceptive wheels turning inside the lovely Christabel's head, trying to recall which lie she told to whom. Fontaine retains a sense of mystery about her, because you keep wondering to what end is all this manipulation, anyway -- does Christabel even know? A consummate liar, she also remains a bit sympathetic through it all: you get the sense of someone who has played so many contradictory roles that she's kind of a lost soul.

As for the story itself, it's pretty good; and the supporting characters are merely okay. But really, they're just pins set up for Christabel to upset. Sit back and watch her go.

So, if you're like me and wanted to reach out and protect Joan in her Hitchcock movies, try BORN TO BE BAD. She's just as lovely (those doe-eyes will make you want to believe her) -- only hold onto your heart, and your wallet.

Nicholas Ray's career remains unique in its peaks and valleys, but his work has never been dull. Even A WOMAN'S SECRET stirs memories, notably from the performance of his then-wife Gloria Grahame. BORN TO BE BAD is an "almost" -- its depiction of the New York theatrical lifestyle on on-target, down to the living quarters. And its characters ring true. Still, the plot, if taken apart, is a muddle in the middle. Nonetheless, Ray has provided strong mise en scene, and offered an underrated star like JOAN LESLIE an opportunity to show how truthful and relaxed a performer she was. Her performance is almost equalled by that of MEL FERRER as the "probably-gay" character. In her role, JOAN FONTAINE, an excellent actress, is able to convey the seven-faced facets of a woman who misuses friendships, romance, and opportunity... all for her benefit. ROBERT RYAN, as ever, offers a solid performance though his character is far less defined. and ZACHARY SCOTT does well too. Ray's use of camera angles, lighting, etal. may seem commonplace, but there is careful use of everything involved. But what is remembered, when all is said and done, is the work of JOAN LESLIE as the put-upon fiance. It is performances like hers that are ignored... but that are enormously difficult to bring across accurately. Hers is the pilot light that keeps BORN TO BE BAD intriguing.