The Letter

From the opening sequence where we see Bette emptying her gun on this poor unsuspecting soul, you become riveted watching one of Ms. Davis' all-time flawless performances.

In a nutshell, this tells the story of what happens when first we practice to deceive. Bette claims she was attacked by a friend she has seen only casually until she was forced to "defend" herself against his unwanted advances. Initially, it looks like a slam dunk but when the case is taken to trial, more and more, Bette's lies get the best of her.

Not a sympathetic character for the most part. There is one chilling scene where she, totally exasperated with having to remember so many lies, makes a confession to her husband. It is a fascinating scene for while you recoil at her seemingly selfish attitude, there is this underlying, reluctant admiration you feel for this woman's brutal honesty.

Excellent supporting cast all around, most notably, Herbert Marshall as the poor unsuspecting (it appears many men fall under this category when dealing with the Divine Ms. Davis!)husband whose main goal is to support his wife. Now whether she deserves this loyalty is another ugly story.

Excellent mystery with certainly enough twists and turns to keep you totally engrossed in a very good story.

*Just watched it again last night (10/8/2006) - I'm tellin' ya guys - after 900 viewings, the movie still rocks!!!!

In `The Letter' William Wyler takes a predictable plot and turns it into a brilliant film with the help of one of the grande dames of film. For hell hath no fury like Bette Davis with a revolver in her hand.

The film opens with Leslie Crosby (Bette Davis) emptying her revolver into a man on her front porch, shooting him twice after he hits the ground. She tells the police she was defending herself against his sexual assault. She seems to be headed for an easy acquittal until (surprise) an incriminating letter surfaces that suggests that she summoned the victim to her house with the clear intention of murdering him.

Can the evidence be suppressed? Will she be acquitted? Was she really in love with the victim? The answers to these questions are obvious to all but the most naïve viewer. Yet, despite the transparency of the plot, this film works for two reasons: Bette Davis and William Wyler.

Bette Davis is arguably among the best actresses of all time. She was originally signed by Universal Studios, who dropped her because she didn't have the looks to be a movie star. Still, Warner Brothers decided to take a chance on her in 1932, signing her to a seven-year contract that would produce two Oscars. She was nominated for best actress eleven times, winning twice (`Dangerous', 1936 and `Jezebel' 1939). She was nominated five straight years from 1939 to 1943. This performance was in the middle of that run. It is classic Bette Davis, utterly in command of every scene. Her portrayal of Leslie is superb, a duplicitous and cunning woman who could manipulate any man to do her bidding. It took another woman to humble her. This is Davis in her prime and it is awesome to see her at work. She could make a dog food commercial exciting to watch.

What Davis was to acting William Wyler was to directing. (The two shared more than a professional relationship, and it was widely rumored at that time that they were romantically involved.) Wyler was nominated for best director twelve times winning three (`Mrs. Miniver', 1942; `The Best Years of Our Lives', 1943; `Ben Hur', 1960). Like Davis, he was also nominated for this film. Wyler's camerawork here is fantastic. In black and white films, lighting is critical, because the director doesn't have the luxury of relying on color to dramatize the images. Aided by veteran cinematographer Tony Gaudio, Wyler's use of lighting and shadows in this film is brilliant. It could serve as a primer for dramatic black and white cinematography. Gaudio was also nominated for an Oscar for this film, one of his six nominations in a forty-year career.

This film was nominated for seven Academy Awards, including best picture, but it was shut out. Despite a predictable story, I rated it a 9/10 on the strength of the acting, directing and cinematography. It is an excellent opportunity to see Bette Davis during her glory years in one of her many outstanding performances.

The wife (Bette Davis) of a rubber plantation administrator shoots a man to death and claims it was self-defense. Her poise, graciousness and stoicism impress nearly everyone who meets her. Her husband (Herbert Marshall) is certainly without doubt; so is the new district officer (Bruce Lester); while her lawyer's (James Stephenson) doubts may be a natural skepticism. But this is Singapore and the resentful natives will have no compunction about undermining this accused murderess. A letter in her hand turns up and may prove her undoing.

This remarkable drama begins with several literal bangs, and we're fascinated from that moment until the last frame of film. Davis, with her precise and intricate manners that match her character's elaborate web of deceit (symbolized by her compulsive crocheting), gives a fiery, mannered, mysterious performance that may equal anything she's done. Marshall and Stephenson are both subtle in their acting and refined in their manners. William Wyler directs an adaptation of W. Somerset Maugham's play (Maugham provided the material for Davis's breakthrough role in "Of Human Bondage") and never makes a false move until the censor-imposed ending. Tony Gaudio's photography, with the light often hitting people from a full moon or through the slats of blinds, is splendid. Max Steiner's music, though repetitive, is very effective. A great film.

William Wyler directs Bette Davis in a fine screen adaptation of a Somerset Maugham story. The plot is sheer melodrama and has la Davis in all kinds of hot water, legal and personal, in British Malaya. Wyler's pretentious direction works better here than elsewhere, and this is one of his finest films. The combination of the director's grandiose desire to turn everything into high art meshes nicely with Maugham's journeyman but psychologically complex, basically mediocre tale. Add to this a bravura performance from his star, and the result is a highly watchable and intelligent movie.

The tropics are nicely evoked without without drawing too much emphasis to the fact that everything and everyone seems to be wilting in the heat. Wyler and his screenwriters have clearly done their homework, and along with the cast present a believable picture of the closed society that was the essence of British imperial rule. These people are more snobs than not, but they are often decent snobs, good friends to one another in a tight spot, and carry themselves with a kind of quiet dignity that seems to have died with the empire. There are some fine performances aside from Miss Davis', notably from James Stevenson as her lawyer, who yet seems to be her lover, but isn't; and Herbert Marshall, who may as well her lawyer but is in fact her husband. The moon figures prominently in the film, seeming to hover over the action, perhaps even dictating it, and giving the movie perhaps a stronger resonance than its civilized melodrama deserves.

In a career that spanned almost six decades, it would be hard pressed to cite one definitive Davis performance. There are so many, and with the number of Davis fans worldwide, it would be redundant to list them here.

However, Davis's performance as adulterer/"devoted" wife "Leslie Crosbie" has to rank as one of her finest. Davis does more in the short span of ninety-five minutes (the film's running time) than an actor of lesser skill could do in an entire career. Her "Leslie" is delicate, yet demanding, appealing yet repulsive, and submissive yet authoritative. The character dominates every inch of the screen and the actress makes full use of those trademark "eyes" of which Kim Carnes sang.

The supporting cast is equally as brilliant, with Herbert Marshall outstanding as her loving (but dim-witted) husband, James Stephenson, suave and determined, as Davis's lawyer, Victor Sen Yung (later to achieve fame as "Hop Sing" on TV's "Bonanza"), and Gale Sondergaard, magnificent in the speechless yet captivating role of "Mrs. Hammond."

And praise of this film is not complete without mention of its score. Max Steiner contributed one of film's greatest musical accompaniments. So powerful is this work that Laurence Rosenthal adapted themes in his score to the television version, starring the late Lee Remick.