La vieille fille

Here is a classic film which I have never seen. According to lore, Bette Davis and Miriam Hopkins detested each other during the filming of this. Both actresses were forces of nature to be reckoned with, and, if anything, Miriam was even more of an upstager than Bette was. Both actresses however overcome their dislike for each other to turn in thoroughly terrific performances. Bette Davis is marvelous as the initially lovely and later repressed woman with a secret. Bette never turned in a bad performance, so it's natural to expect and get one here. Miriam Hopkins is, these days little-known to contemporary audiences and that's a shame, since she was really a terrific actress. The two stars spar subtly and not so subtly like two dogs circling each other for a fight. There is a satisfying ending which will bring a tear to your eye. The glossy Warner Bros. production has a marvelous Max Steiner score which dosn't hurt one bit. Two great actresses for the price of one, 23 years before "Whatever Happened to Baby Jane?"

Bette Davis and Miriam Hopkins shine in this Warner Bros. melodrama, "The Old Maid" released in 1939, a banner year for Davis at the studio. This was one of four very fine films she did that year, making her the reigning queen of the studio. In this one, Davis and Hopkins are cousins in the 1800's. Hopkins rejects her beau (George Brent) to marry into a wealthy family, the Ralstons. Davis has the hots for Brent (one of her frequent co-stars during this period) and gets pregnant with his baby. However, he goes off to fight the Civil War and is killed. At a time when being an unwed mother was not an option, Davis agrees to move in with Hopkins, now a widow with two children of her own. The child, Tina (Jane Bryan) grows up knowing she is a foundling, but always calls Hopkins "mummy." Davis does not let on she is Tina's mother, but rather an aunt; this fills her with resentment, and into a bitter old maid, hence the title of the picture.

The movie is pure soap opera, for sure, but the interplay between Davis and Hopkins is fascinating to watch. Davis has the showier part, but Hopkins more than holds her own. Off screen, Davis had an affair with Hopkin's husband, director Anatole Litvak, and now the two had to star together in a film! One can only imagine what went on between them on the set of this, but both give fine performances. Even Davis herself, much later in life, stated Hopkins was a superb actress and she always had to be on her toes as her co-star. There are some fine supporting performances, notably from Jane Bryan as Tina and the always under-rated Donald Crisp as a friend of the family and doctor. But this is Hopkins and Davis' show, and they do not disappoint.

Get out your handkerchiefs! Bette Davis, the queen of black-and-white tearjerkers, outdoes herself in The Old Maid. I dare anyone to make it through this classic without bawling. Bette Davis starts the movie in love with her cousin's fiancé, George Brent. Her frivolous cousin, Miriam Hopkins, got tired of waiting for George to come home from the war, so she marries someone else. When George comes back and finds out, he's devastated but gets comforted by Bette. He was her favorite leading man, after all.

Years later, George has died in battle and Bette never remarried. She runs an orphanage for children whose fathers died in the war, in order to hide her own illegitimate daughter from George. When Miriam, now a widow as well, comes with her own little girl and lives with Bette, a bedroom ritual starts. Miriam's daughter says, "Goodnight Mummy. Goodnight Aunt Charlotte," to Bette. Bette's daughter starts saying it, too. It pains Bette terribly to hear her child call Miriam "Mummy", let alone to be called "Aunt Charlotte." I'm sure you can imagine the tearjerker scenes that follow.

I always said it was a tragedy that Bette didn't win her Oscar for this movie. At the Hot Toasty Rag, she was the one and only person to gain a triple nomination in the same category. In 1939, she was nominated for Dark Victory, The Old Maid, and The Private Lives of Elizabeth and Essex, winning the Rag for the latter. While she absolutely deserved a Rag for playing Aunt Charlotte, her performance as Queen Elizabeth was remarkable.

If you like sacrificing mother stories like Stella Dallas, you'll love this one. You'll get to see some beautiful costumes, great age makeup on the leading ladies as the story travels through the decades, and you'll go through at least one box of Kleenexes as Bette tears up your heart. And if you like the dynamic of Bette and Miriam fighting over the same man, check out their follow-up Old Acquaintance.

This film would be just another period melodrama: over-scored,sugar-coated, and glossy-slick (especially for a Warners' film) -- except for two things: Bette Davis and Bette Davis.

Bette is truly a revelation in this film, which required her to age twenty years in the flesh but many more than that in spirit - as she turned from a fresh, extremely sympathetic young girl to an "old maid" of forty or so, a bitter, intimidating woman.

Her ability to integrate completely disparate human traits into one cohesive character is amazing - a must see.

With Warner Bros. studio chief Jack L. Warner himself in charge of the production, "The Old Maid" is a fine example of what that studio's "stock company" was able to produce in the late '30s and early '40s. Here is Bette Davis and Miriam Hopkins, assisted by George Brent and Donald Crisp acting up a storm a very soapy piece of melodrama, and making it all very engrossing. Based on Zoe Akins' Pulitzer Prize play and Edith Wharton's novel, this drama of sacrifice, deception, and raging emotions is given a superlative treatment by this impressive company. The film even has the services of Max Steiner's score, underlying every scene with original and adapted source material. Edmund Goulding's direction is sure-footed and he has managed to curb histrionic accesses of the two stars nicely; their acting is quite restrained, yet powerful. Whatever sparks flew between the two ladies off-screen may be justified by what on-screen legacy is left for all to appreciate. Further, the drama depicts the limited and restrictive social/class mores of the period, undoubtedly imported from strict European values.