The Sisters

Errol Flynn and Bette Davis did the first of two films together in The Sisters and curiously enough it followed landmark films for both of them, The Adventures of Robin Hood for Flynn and Bette's second Academy Award winner, Jezebel.

It was an interesting project for both, but fell somewhat flat at the box office. Still it's not a bad film at all and for Flynn it was an attempt to expand his range as player.

Bette's usual shtick is held firmly in check my director Anatole Litvak. She's one of three daughters of Henry Travers and Beulah Bondi of Broken Bow Montana and the action of the film takes place between Election Day of 1904 and 1908. Shortly after the first election where all three encounter the men they would marry.

For Jane Bryan it's Dick Foran, a proper young man of business who soon becomes president of the bank and they settle down to a nice middle class existence. It's only threatened when Foran falls victim to the town tart briefly, one of many men in the area.

For Anita Louise, she's a naughty flirt who likes romance, but also likes her creature comforts. She marries Alan Hale who's the wealthiest guy in town, who's also a widower looking for a trophy wife. She lucks into the best of both worlds when he dies leaving her well provided for and free to pursue love in comfort.

But the main plot revolves around Bette Davis who marries newspapermen Errol Flynn, a charming, but essentially weak character. He likes to drink and carouse and even impending fatherhood doesn't put a damper on that. He leaves her, purely coincidentally right in the middle of the San Francisco Earthquake.

Some don't like Flynn's performance, but I think he did fine in the role. The problem was that the brothers Warner filmed two different endings and gave into public opinion in the one you see. Flynn, by the way thought they did the wrong thing. Without giving it away, the ending should have resembled one they gave Four Daughters which was also produced by them in 1938.

Despite the fact that Errol and Bette hated each other they got through the film and it's not bad. Look also for good performances from Donald Crisp as Flynn's sportswriter friend and Ian Hunter who gives Bette a job after Flynn leaves her and loves her as well.

This is a charming movie featuring an nonmustached, gorgeous Errol Flynn and a young, lovely Bette Davis. Davis gives a wonderful ingénue performance as the less fortunate of three pharmacist's daughters who live and love at the turn of the century (with the action beginning with the election of Roosevelt and ending with the election of Taft). The Davis character marries Errol Flynn, who runs into trouble with employment and alcohol. The other two daughters stay closer to home and do better. Davis, however, is determined to stand by her man and make her marriage work.

It's delightful to see these stars in somewhat different roles than they would play later in their careers. They are ably supported by Anita Louise, Jane Bryan, Ian Hunter, Beulah Bondi, Lee Patrick, Dick Foran, Alan Hale, and Laura Hope Crewes.

The Warners film intended to be true to the book - however, the preview cards demanded another ending. I have to say, I like the changed ending as well.

Bette Davis (as Louise Elliott) is a Montana woman who marries San Franciscan sports reporter Errol Flynn (as Frank Medlin). Her sisters Anita Louise (as Helen), and Jane Bryan (as Grace) marry at the same time; the three sisters find wedded bliss is short-lived. Supporting floozies Lee Patrick and Laura Hope Crews are a very well-matched mother and daughter tag-team who befriend the deserted "Louise".

Whatever the film's original intentions may have been, it is really about ONE sister; naturally, it's the sister played by Bette Davis, and HER marriage to the character played by Errol Flynn. The stars are in fine form as the love-struck young couple who hit on hard times. Ms. Davis is refreshing as a housewife who becomes ill in a smoke-filled boxing arena, and Mr. Flynn is convincing as the husband who drinks to heal his wounded pride. Flynn asks a significant question about his character: why did marriage make his wife strong, and himself weak? Similarly, the objective of "The Sisters" as a film is strong, and the story weak. Yet, the production level is high; and, historical events like Presidential elections (Roosevelt, Taft) and the San Francisco earthquake are used to great advantage.

****** The Sisters (1938) Anatole Litvak ~ Bette Davis, Errol Flynn, Anita Louise

Bette Davis to me and many others is/was one of the greatest actresses of her time and still one of the greats, 'All About Eve', 'Now Voyager', 'Little Foxes', 'The Letter' and 'Jezebel' (all very good to masterpiece films) being especially great performances. Am also fond of Errol Flynn, though don't consider him as good an actor, with my first and favourite film of his being 'The Adventures of Robin Hood' (he's great in his other swashbucklers too).

There is a lot to recommend in regard to 'The Sisters'. It is not a classic by any stretch and not everything works, with the balance not being quite right. The biggest attraction though is Davis and Flynn, and 'The Sisters' does nothing to disgrace either of them and they are two of the main best things about the film. Neither at their best sure, but for anybody who likes or is a fan of either or both should find little reason to not watch this, even if it is just the once.

Davis doesn't disappoint, it is a restrained performance but a wholly riveting one. Flynn is dashing and charismatic and their chemistry is very sensitively written and acted. The production values are very handsome, time, effort and money and a huge amount of all three at that clearly went into them. The earthquake effects are still impressive and put a vast majority of earthquake effects in films today to shame. The whole earthquake sequence is very memorable.

Max Steiner's score is typically luscious and dramatic. The script avoids being too soapy, it's nicely directed and the story generally moves along nicely. The supporting cast are not exceptional but do more than competently, Lee Patrick standing out.

On the other hand, the supporting characters seem underdeveloped and sidelined in favour of Davis and Flynn. It was right for them to be focused on primarily, but it really shouldn't have been to the extent that there is not an awful lot else in characterisation that one remembers.

Also, the ending felt too pat and tacked on, not ringing true with what happened before in the story and like the writers were favouring star power over realism.

In summary, not great but worth seeing. 7/10

Despite the authentic period detail and a very well-staged, realistic earthquake scene that takes place late in this story of early San Francisco (but fails to wake up the sluggish plot), the tale itself is a weak one that gives neither BETTE DAVIS nor ERROL FLYNN very much chance to emote as their fans would like them to. Davis plays a loyal wife while Flynn is the family man who can't settle down. Both are professionally competent here, but seem to be fully aware of the script limitations imposed on their bland characters.

Nevertheless, it's nice to see a more restrained Davis playing a nice, normal woman for a change--but one would expect a few more sparks from their relationship than we get here. Their separation, after he goes off on a binge that takes him away for a four year period while he tries to find himself--and their ultimate reunion--is about all the plot has to offer in the quest for tracing the family history of three daughters who each experience their share of problems in choosing hasty marriages. Beulah Bondi and Henry Travers are their worried parents.

Bette and Errol have both given better performances in more detailed roles--and were fine a year later in their flashier costume roles as Elizabeth and Essex. This seems to be merely an attempt to work up some box-office interest in two of the studio's top stars while at the same time taking Flynn away from his swashbuckling roles. Then too, this might have been Jack Warner's promotional idea of working up audience interest in the two stars before presenting them in the lavish ELIZ. AND ESSEX the following year.

Unfortunately, all of the supporting roles are on the bland side except for Alan Hale, Sr. as a wealthy Irishman who marries Anita Louise, a lovely young thing who wants the security his wealth can provide. A plain looking Jane Bryan is totally wasted as the youngest sister who marries Dick Foran, both terminally bland in their respective roles. Donald Crisp is convincing as Flynn's loyal friend.

But whatever real interest the film has, it owes to the performances of Bette Davis and Errol Flynn who are able to give even this kind of weak material some substance and strength. Ian Hunter as Davis' understanding boss handles his meager assignment with customary charm and skill.

Negative note: Director Anatole Litvak should have toned down Lee Patrick's performance as an inquisitive chatterbox neighbor. Nice to see Laura Hope Crews (Aunt Pittypat from GWTW) as her fluttery mother.

Summing up: Whatever energy was put into this production, the end results are meager, even for Davis and Flynn fans.