Bette Davis a Winner in 1939’s ‘Dark Victory’

Bette Davis in the memorable finale of Warner Brothers' "Dark Victory," from 1939.

For Bette Davis and Hollywood, 1939 was their zenith year.

Bette finally started to get consistently better roles two years before, after her famed Warner Brothers lawsuit. In 1939, Davis appeared in Dark Victory, Juarez, The Old Maid, and The Private Lives of Elizabeth and Essex.

My post on "Dark Victory" is part of the CMBA "Cry Me a River: Tearjerkers Blogathon."
Mine is on the first day, May 12, here: http://clamba.blogspot.com/

As for WB and the rest of the studios, 1939 was considered the golden year of the studio era system. The Oscar nominee categories overflowed with classic candidates. And the studio system flourished through the WWII era. 1946 was Hollywood’s biggest year in movie attendance, when the war was over. Davis' biggest commercial hit, A Stolen Life, was released by WB that watershed year.

Bette Davis is the heiress & George Brent is her doctor in 1939's "Dark Victory."

Dark Victory was taken from an unsuccessful play, so WB's top screenwriter, Casey Robinson, used it as a starting point to whip up a classic confection of cinematic romance. Much like Davis' later Now, Voyager, Robinson wrote a romantic yet grownup screenplay for Bette Davis.

The three stars of 1939's "Dark Victory": Geraldine Fitzgerald, George Brent,
and the top star, Bette Davis, as Judith Traherne.

The WB star was 30 when Dark Victory was filmed. For once, Bette wasn't playing older or nasty and her character, Judith Traherne, is just 23. Dark Victory’s story is quite simple, really. Judith finds out that she is seriously ill. At first, the full prognosis is kept from her, but she finds out anyway. Upset at first, she comes to accept her fate with grace, and embrace the time she has left. This basic premise worked well again over 40 years later with Love Story. The major difference was the man and woman’s wealth status were swapped.

Bette Davis is mercurial rich girl Judith Traherne in 1939's "Dark Victory."

Though Bette Davis is one of my favorites, I’ve never seen Dark Victory until 2025. Why? I don’t enjoy movies where the main character is dying.  I’ve only seen clips of Love Story and have never watched Terms of Endearment all the way through.

I especially like how Davis’ whirlwind of an heiress is portrayed. A character staple in screwball comedies, they were often taken down a peg by the leading man, like a screwball version of The Taming of the Shrew. In Dark Victory, the good doctor does his professional and personal best by Judith, with patience and love. It’s this more modern approach that makes Dark Victory so appealing.

Director Edmund Goulding uses Bette Davis’ jittery intensity well for the scenes where she initially diagnosed and later, when she finds out the tumor is terminal. And it makes her more subdued scenes of happiness in life and later acceptance of her plight so refreshing to watch.

Now a full-fledged star, Bette Davis could dictate her own hair and makeup. Davis looked magnificent as the headstrong heiress. Her favorite designer, Orry-Kelly, created a wardrobe that was both realistic and glamorous—yet in character. When Judith is settled at her country home, Davis sports simple sweaters, skirts, and flats. Bette looks timeless in her casual wear. When she gets to dress up, Davis looks divine, especially as photographed by Ernest Haller, her favorite cinematographer. If this film had been made at MGM with Norma Shearer, it would have been over the top luxury every step of the way. I always appreciated WB’s more realistic approach to glamour. Also, Max Steiner composed a beautiful score that was popular and Oscar-nominated.

Bette Davis & George Brent's fateful newlyweds in 1939's "Dark Victory."

What really surprised me was how warm and gentle George Brent was as Dr. Frederick Steele, who becomes devoted to Davis' society girl. His quiet strength is a good contrast to Davis' headstrong Judith. He and Davis have a great rapport, which benefited from their off-screen attraction. They made 11 films together and later reunited in The Great Lie with Dark Victory director Edmund Goulding. Also, George Brent is at the peak of his matinee idol looks here, too!

George Brent is the empathetic Dr. Frederick Steele in 1939's "Dark Victory."

Geraldine Fitzgerald is Ann, Judith’s secretary and best friend. Fitzgerald is very naturalistic in look and manner, so she seems quite contemporary. Her Ann is sensible to Judith’s mercurial personality. Fitzgerald and Davis have a natural rapport and became friendly off-camera, too. And Gerry was Oscar-nominated the same year for supporting actress, as Isabella in Wuthering Heights. Fitzgerald made the two films back to back and they were released the spring of 1939.

Geraldine Fitzgerald is Ann, the secretary & best friend of Bette Davis'
horse-loving heiress in 1939's "Dark Victory."

Humphrey Bogart and Ronald Reagan are iconic names today. Back in 1939, they were up and coming names, who came into their own in the early '40s. Thankfully, their roles in Dark Victory don't weigh heavily on the story, because they're both rather bad in this otherwise well-acted movie, for different reasons. Bogie plays the Irish horse trainer with an obvious accent. His character feels barely sketched out. As the cocky stable hand who yearns for the impetuous rich girl, he was no Heathcliff from that year’s Wuthering Heights! Ronald Reagan plays Bette's drinking buddy/maybe boy toy, with little depth at all. Ronnie's attempts at playing a Gig Young-type charmer who drinks are amateurish. 

Humphrey Bogart as the Irish horse trainer to Bette Davis' spirited heiress doesn't
 exactly inspire comparisons to "Wuthering Heights!" "Dark Victory" from 1939.

Edmund Goulding’s direction is understated and grownup, so the sentiment is not over the top. Goulding handled challenging material like Dark Victory, Grand Hotel, The Razor’s Edge, and Nightmare Alley quite well.

Bette Davis' Judith Traherne with one of her playmates, mildly played by
Ronald Reagan, in 1939's "Dark Victory."

The Dark Victory finale is genuinely touching and subtly done, when Bette’s young wife sends her husband off, and then her best friend. Judith says goodbye to her dogs, then after the maid helps her upstairs and into bed, she asks to be left alone. Her vision quickly fading, she goes to sleep, as the camera goes out of focus and Max Steiner’s score swells. Major tearjerker alert!

As often the case when the studio glory days were on the wane, they often did color remakes of the ‘30s and ‘40s classics. Susan Hayward starred as the Dark Victory heiress in 1963’s Stolen Hours, filmed in England, with British co-star Michael Craig. It’s watchable and Susan is sincere as the heiress. Stolen Hours was not a hit. Perhaps because Susan was trying to play younger, as kid sister Diane Baker was over 20 years younger, and leading man Craig was a dozen years junior. Susan is beautifully photographed and looked far better than contemporaries Vivien Leigh and Lana Turner during this period. But she didn’t look like a young woman who’s cheated out of life, so Stolen Hours looked like a stodgy rehash.

Susan Hayward's remake, "Stolen Hours," from 1963.

The failure of the ’63 Dark Victory remake might have signaled that such a soapy story was old news. In 1970, this was proved otherwise, offering hip young couple Ryan O’Neal and Ali MacGraw, very contemporary in an otherwise old-fashioned Love Story, a box office smash.

"Love Story" from 1970 proved
there's nothing new under the sun!

And while I adore Elizabeth Montgomery, I have no desire to watch the 1976 TV remake that’s 2 and ½ hours long! Even with Anthony Hopkins as the doc and Michele Lee as the best friend, that’s too much, as both earlier versions were about 1 and ¾ hours longs—plenty on both counts.

Anthony Hopkins & Elizabeth Montgomery
are fine actors, but a 2.5 hour version of "Dark Victory?!"

The message of Dark Victory is timeless, that it’s more important how much you are living your life, not how long you are going to live. And that message is a positive prognosis of life!

The tear-jerking scene when Judith realizes her vision is going, signaling her
 impending death, in 1939's "Dark Victory."W/ Geraldine Fitzgerald & Bette Davis.

Here’s my take on Bette Davis’ other great romantic role, as Charlotte Vale in 1942’s Now, Voyager:

https://ricksrealreel.blogspot.com/2018/02/now-voyager-1942.html

Bette Davis with Paul Henreid, in "Now, Voyager."

"Out of the Blue" is a silly but fun bit of post-war '40s fluff with an interesting mix of stars: George Brent, Virginia Mayo, Turhan Bey, Ann Dvorak,& Carole Landis. Married man George Brent picks up comically deranged designing woman Ann Dvorak! Focus on the stars in this slapstick comedy, my look here: 

https://ricksrealreel.blogspot.com/2025/07/seeing-stars-in-screwball-comedy-out-of.html 

The lighter side of George Brent in "Out of the Blue!"

“Hush… Hush, Sweet Charlotte” Still Chills 1964

Bette Davis & Olivia de Havilland go head to head in 1964's southern gothic
suspense film, "Hush... Hush, Sweet Charlotte."

Hush… Hush, Sweet Charlotte was a follow-up to the surprise 1962 smash, What Ever Happened to Baby Jane? While Baby Jane was aptly released that Halloween, Charlotte oddly opened during the 1964 Christmas season. Both fright films got mostly good reviews and made money, but Baby Jane was the one that stayed fixed in movie fans’ memories, with its comic horror look at Hollywood. Still, Charlotte succeeds as a straight-up southern gothic suspense film. While there are numerous similarities to Baby Jane, Charlotte also has some surprises.

"Hush... Hush, Sweet Charlotte" was the 4th and last film that Olivia de Havilland &
 Bette Davis co-starred together.

Aside from the twisty tale, the top drawer cast really puts Hush… Hush, Sweet Charlotte over. Bette Davis, as Charlotte Hollis, gets a raucous role to sink her teeth into. Davis’ son, Michael Merrill, said that she initially didn’t want to play another hag horror role and thought the script was too gruesome. Even after Baby Jane, work and money for 50-something female stars were scarce, so Bette accepted Charlotte.

Victor Buono's a big daddy indeed, as Sam Hollis, who wants to make sure daughter
 Bette Davis doesn't become a Jezebel! 1964's "Hush... Hush, Sweet Charlotte."

Hush… Hush, Sweet Charlotte starts with a prologue in 1927 at the Hollis family mansion. Patriarch Sam Hollis is raging at John Mayhew, a married man who’s having an affair with his young daughter, Charlotte. After some wrangling, John agrees to end it. At a ball in the Hollis mansion, Charlotte’s married lover meets her at the “summer” house. She doesn’t take the news well, despite John’s claims that he did love her. Moments later, someone comes back. John thinks its Charlotte and whoever the visitor is, they brought a cleaver that’s been used to open champagne cases. The ball comes to a halt when Charlotte reappears with blood on her white ball gown. Though she is never charged, everyone assumes that Charlotte butchered John Mayhew. Cut to present day 1964, with eccentric Charlotte fighting the authorities over moving out of the family manse, to make way for highway construction. When Charlotte’s Cousin Miriam comes to help, it’s an even bumpier ride.

Bruce Dern's characters suffered grisly flashback demises in both 1964's
"Marnie" & "Hush... Hush, Sweet Charlotte." 

Young Charlotte's reputation is forever stained by the suspicion of murder of
John Mayhew, in 1964's "Hush... Hush, Sweet Charlotte."

While Bette Davis doesn’t hold back portraying Charlotte’s pepper pot personality, she has subtle moments too, such as scenes with a curious reporter, played by Cecil Kellaway. The same is true of Agnes Moorehead as brash but devoted maid Velma. Moorehead is truly outrageous in some scenes, especially when she spars with Charlotte’s villains. Agnes has sly silent moments as well as sincere ones, like when Velma aims to look out for Charlotte’s welfare. The veteran character actress makes the most of her over the top role and got a well-deserved Best Supporting Actress Oscar nomination, and winning a supporting Golden Globe.

Agnes Moorehead has a field day as fiesty housekeeper Velma, in 1964's
"Hush... Hush, Sweet Charlotte."

As Cousin Miriam, Olivia de Havilland makes one smooth villain. As the poor relation taken in as a child by the Hollis family, Miriam returns at Charlotte’s behest. Olivia’s honeyed gentility and wide-eyed concern harkens back to her classic role as Melanie in Gone with the Wind. Except this time, her southern cousin IS too good to be true. One of Olivia’s few bad girl roles, she’s quite intriguing, and only goes over the top like her other female co-stars when Miriam shows her hand—sometimes literally!

Olivia de Havilland plays "sweet" Cousin Miriam in "Hush... Hush, Sweet Charlotte."

Barbara Stanwyck said that she was never asked to play Miriam, as sometimes written, but was requested to play Jewel Mayhew, John’s wife. Which Stanwyck turned down, as the part consisted of two scenes. In this cameo role, Mary Astor as Jewel is mesmerizing. Mary plays a dying woman in her final acting job, and plays the role simply and hauntingly. Mary’s encounter with Olivia is zingy, and her long scene with Kellaway is melancholy. Astor makes every moment count.

Mary Astor is superb in her cameo role as Jewel Mayhew, the wife of Charlotte's
slain lover. From 1964's Hush... Hush, Sweet Charlotte."

There are several encore actors from Baby Jane: Victor Buono plays Charlotte’s imposing Big Daddy, Sam Hollis; Wesley Addy—Blanche Hudson’s “nice Dr. Shelby”—is the sheriff who must deal with cranky Charlotte; and Dave Willock, Baby Jane’s beloved daddy, is the cab driver who brings Miriam back to the scene of the crime.

Joseph Cotten was the original Dr. Drew! He's Charlotte's doc and Miriam's ex-suitor
 in 1964's "Hush... Hush, Sweet Charlotte."

Joseph Cotten offers his smooth southern charm, played with laconic humor, as Drew Bayliss, Charlotte’s doctor and Miriam’s former beau. Cotton co-starred with Bette Davis 15 years earlier, in her WB swan song, Beyond the Forest. George Kennedy just tangled with Crawford in Strait-Jacket, and does the same as head demolition guy in Hollisport. Bruce Dern plays John Mayhew, Charlotte’s married beau, in the prologue. Later, he’d work again with Davis, as one her criminal sons, in a very special Gunsmoke episode. Cecil Kellaway’s gentle scene stealing offers contrast to some of the ladies and their scenery chewing. And look for John Megna (Dill from To Kill a Mockingbird) as the new kid who’s dared to go inside outcast Charlotte Hollis’ mansion. Lillian Randolph, the beloved Annie of It’s a Wonderful Life, is one of the packing ladies; squeaky-voiced Percy Felton is the funeral director; The Waltons Ellen Corby and Helen Kleeb are local gossips; and Frank Ferguson plays the local newspaper editor, while he was playing Eli Carson on TV’s Peyton Place.

Hush… Hush, Sweet Charlotte has the same upsides and downsides as Baby Jane. On the plus side, the cast is uniformly good, the story entertaining, and the production values strong. The debit side is mostly director Robert Aldrich’s weak points. While he’s a strong storyteller at his best, Aldrich’s tendency to overstatement causes Charlotte to run 2 and ¼ hours, and like Baby Jane, about 15 minutes too long. Both movies have entertaining but lengthy prologues and drag a bit in the last half. Both thrillers have some plot points that don’t bear scrutiny. Also, both movies have theme songs that get reprised one time too many!

Cecil Kellaway as a curious reporter & Bette Davis as Charlotte share some subtle moments in "Hush... Hush, Sweet Charlotte."

Among the other similarities between Charlotte and Baby Jane: Prologues that get a kicker in the films’ finales; two outspoken housekeepers; Bette as a disturbed daughter with daddy issues; Davis’ antagonists are charming phonies; dead bodies that must be disposed of; and Charlotte and Jane’s last scenes are of them being gawked at by onlookers.

Charlotte and Baby Jane were made in the early ‘60s, when there was the last vestige of film glamour versus plot sense. In Jane, Joan Crawford’s invalid Blanche still has lovely nail polish and lipstick despite having been a recluse for three decades. In Charlotte, after Bette Davis bravely threw down the glamour gauntlet as bizarre Baby Jane, is this time out the star that sneaks in a little glam for her aging Jezebel. Though Charlotte Hollis has seen only the maid and her doc for the last 35 plus years, she still sports makeup mortician Gene Hibbs’ war paint. And wears high heels, when not running around barefoot sporting a nightie and a shotgun! If only Bette had sported a more authentic no-makeup look like co-star Mary Astor. But then, maybe that’s why Bette was playing the title role and Astor had a two-scene cameo. Interestingly, Olivia de Havilland shows her Paris way of life in her own Dior wardrobe and chic bouffant, plus makeup that stays inside the lines of her facial features!

"I thought this Gene Hibbs makeup was supposed to make me look younger!"

Much has been made of Joan Crawford’s departure from Hush… Hush, Sweet Charlotte. I’ll only say that Joan could have played the silky villain with assurance and style. In fact, Crawford played a number of charismatic, insincere types for nearly 15 years before Charlotte. Who knows whether Joan left because she was genuinely sick or just sick of sparring with Bette Davis. Crawford claimed illness in another tense situation nearly two decades before, on Oscar night of 1946, with similar speculation. What’s unfortunate is that some Joan fans take out their ire on Olivia, who was a reluctant last minute replacement. Crawford probably would have played in a grander style, closer to Bette and Agnes’ performances. But Olivia’s casting against type, as a cool villain is its own fun.

Joan Crawford was to play Cousin Miriam but claimed illness and dropped out.

Was this the sparkly dress that Olivia's Miriam found slashed in the closet?

Trivia: Was the sparkly dress that Olivia’s Miriam finds slashed in her closet the one that Joan’s Miriam wore for the homecoming dinner scene? Also, I found it amusing that Bette, who liked to slap co-stars as much as Joan did, chickened out in the car scene where Miriam drops her mask. Though new Miriam Olivia was a long-time friend and co-star, Bette asked that her slaps be faked, and it shows! Finally, while a younger double is used for Charlotte, why on earth did they use Bette’s 60-ish cigarette voice, where she attempted to sound younger?

And typical of the mid-century moviemaking, the flashback scene of a ‘20s party looks like a ‘60s prom with a flapper theme. Also unfortunate is that the only blood on Charlotte’s dress is on her lap area! At least the other girls didn’t throw tampons at her, like Carrie!

The story/script by Henry Farrell and Lukas is most clever, despite some holes in logic. The music by DeVol is atmospheric, and Joseph Biroc’s wonderful cinematography is striking and truly adds to the mood. Also, I’ve visited one of the two Louisiana’s mansions featured in Charlotte. Miriam’s home is actually Oak Alley Plantation and it is stunning.

Mary Astor as Jewel, with a the reporter, played by Cecil Kellaway. Jewel's home is
 represented by the Oak Alley plantation. "Hush... Hush, Sweet Charlotte."

Here’s my take on the legendary Baby Jane! https://ricksrealreel.blogspot.com/2016/10/bette-and-joans-acting-duel-whatever.html

Here’s the one other time Olivia played evil, in The Dark Mirror! https://ricksrealreel.blogspot.com/2023/07/10-takeaways-olivia-de-havilland-dark.html 

Bette Davis & Olivia de Havilland aren't exactly kissin' cousins in 1964's
"Hush... Hush, Sweet Charlotte."

 

 

 

 

Bette Davis Carries “The Corn is Green” 1945

Emlyn Williams' play, "The Corn is Green," is based on the Welsh writer's beginnings. Bette Davis is Miss Moffat, a teacher who mentors John Dall's miner, Morgan Evans.

 

Though old-fashioned and sentimental, the classic story of The Corn is Green is well-acted and heart-felt. What’s especially noteworthy is that it’s based upon playwright/actor Emlyn Williams own life.

Emlyn Williams' "The Corn is Green" was a stage success first.

The London version of the play starred Williams himself as the Welsh student who struggles to lift himself up from the coal mines. Dame Sybil Thorndike played his mentor, the strong-minded teacher, Miss Moffat. A hit, The Corn is Green then came to Broadway in 1940, with Ethel Barrymore a rousing success as the teacher, and Richard Waring as the miner/student, Morgan. When WB snapped up the rights, it was no surprise that their first lady of drama, Bette Davis, would play Miss Moffat. Ironically, Waring, who played Bette's brother in Mr. Skeffington, missed out on Morgan because he was serving in WWII.

Bette Davis is modern-thinking, practical Miss Moffat, who opens a school in a Welsh village.

It was noted that at 36, Bette was 15 to 20 years too young for the spinster teacher. But Davis had already played "older" a number of times, so audiences didn't mind. I recall James Agee's famous review, declaring that Bette had started acting "first lady-ish" in her roles, to which there was some truth. Still, given what was to come, Bette as Miss Moffat is one of her last restrained performances, which she brings her usual intelligence, empathy, plus brisk humor. Davis also chose some of her favorite crew to help her create Miss Moffat: Orry-Kelly for the padded costumes; Perc Westmore for the subtle “older” makeup; Sol Polito for cinematography; and one-time favorite director Irving Rapper, who Bette now clashed with. Bette was correct in one of her beefs: the Welsh lads and school kids sing like heavenly choirs, instead of small town folk.

Joan Lorring & John Dall in what looks to be the WB cafeteria.

It's ironic that the young stars, John Dall and Joan Lorring, received best supporting actor and actress Oscar nominations in the year Bette got shut out. Both praised Bette for helping them as newcomers with their roles. While they perform far better as their characters mature from flighty teens, Bette is the backbone of The Corn is Green. I can see why Dall never made the top tier in Hollywood. Now it's fashionable to say that’s because he was gay, but frankly, he just didn't have leading man looks or personality, and seemed more suited to villain roles. Joan Lorring's Bessie is such an insufferable ditz, and when she finally gets to show some bite in the last act, she’s tarted out like a Somerset Maugham slattern. 

Joan Lorring is a teen vixen who distracts John Dall's student in "The Corn is Green."

And why Bette wasn’t nominated for The Corn is Green? The prestige film got mostly good reviews and was a solid hit at the box office. Back then, the studios typically put their Oscar votes behind their “big” picture and its stars. For this year, WB’s money was on Joan Crawford’s colossal comeback in Mildred Pierce. And don’t think that Bette didn’t take notice!

WB always liked to blow its own horn, but while "Green" did bring in some green,
it wasn't the smash that "Mildred Pierce" was that same year.

Nigel Bruce does his usual blustering bit as the squire, and Mildred Dunnock seems impossibly young here. The supporting cast performs their roles well: Rhys Williams, Rosalind Ivan, Arthur Shields, and William Roy.

Not sure why some critics zero in on the sets of "The Corn is Green."
This was common during Hollywood's golden era, especially during the war years.

Often commented is how stage-bound The Corn is Green looks. Well, this was the '40s WWII era, so a trip to Wales was out of the question. Also, WB was one of the most frugal studios, so it was considered more economical to build a lavish set. Frankly, the story is so sentimental that the artifice fits right in.

Emlyn Williams as an actor.

Emlyn Williams paid it forward
as a mentor to Richard Burton later in life.

Just as Emlyn had his Miss Moffat, Williams was a mentor and life-long friend to fellow Welshman Richard Jenkins. Richard was actually adopted by his true mentor, teacher Philip Burton. When I watch The Corn is Green, I think of how such gestures of help amidst the poverty of Wales must have seemed miraculous. Watching this version of The Corn is Green is worthwhile for the story, Bette Davis, and WB’s skilled studio filmmaking.

One of Bette Davis' pet peeves was when WB would try
to sex up her costume movies by selling it as a hot romance.

FYI: I put all the movie overflow on my public FB  movie page. 

Check it out & join!  https://www.facebook.com/groups/178488909366865/

As Miss Moffat, Bette Davis offers one of her best sympathetic performances.