“Jezebel,” directed by William Wyler, opens in Recent Orleans in 1852. The film tells the myth of Miss Julie, a strong-willed Southern belle played with passion and flair by the mountainous Bette Davis. Miss Julie’s tempestuous relationship with a radiant gentleman (played by Henry Fonda) is played out in the shadow of both social controversies and a yellow fever epidemic.
“Jezebel” is a superbly produced period portion. The opulent sets and costumes, along with the romantic musical earn, contribute well to the overall feel of the film. The black-and-white cinematography is breathtaking; Davis looks positively lustrous in many scenes.
The beneficial Davis gets solid attend from the rest of the valid cast. But create no mistake: this is Davis’ describe, and she commands the shroud from her first scene. Her Miss Julie is a flawed but titillating woman.
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This is a thought-provoking film on many levels. The portrayal of Southern culture as outlandish and alien to Northerners, the fetishization of Southern womanhood (a “ragged, magnificent chalice,” as one male character puts it), the references to the abolitionist controversy, and the depiction of the relationships between gloomy servants and white masters are all lively elements in the film, and richly ironic. “Jezebel” is one Hollywood classic that remains compelling and, I enjoy, begin to unusual famous interpretations.
Probably (excluding All About Eve) the finest pictures Bette Davis made were under the direction of the mammoth William Wyler. And Davis never looked better than in this film.
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Despite friendly performances from Henry Fonda and George Brent, Fay Bainter and Spring Byington, Henry O’Neil and Donald Crisp, Jezebel is really Davis’ movie as the camera caresses her in end ups time and again, and she rewards it’s attention with an A - class performance.
Davis also made The Letter and The Cramped Foxes under Wyler’s direction, she loved working with him, his attention to detail, her preparedness to redo scenes over and again until the Master was blissful (Wyler was known to examine pick after engage - in some cases, 50 or 60 times - until he got what he was looking for) and of course, the finished product.
Jezebel was made in 1938 as Warner Bros wanted to cash in on the success of the book originate of Gone With The Wind, a best seller - and another epic of the tumble of the South and a headstrong woman whose stubborness costs her the man she loves - and gather Jezebel out in the theatres before GTW which was in pre-production, when Jezebel was being shot.
Jezebel is actually region before the Civil War (unlike GTW) in the early 1850’s when the South was a thriving dwelling, and men held colossal store in their honour,and women well versed in meeting the strictly defined code of dress and behaviour that was so fundamental to life in the Olde South.
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For reasons known only to herself, Julie Marsden (Bette Davis) decides to ignore such boundaries and when fiance Preston Dillard (Henry Fonda) arrives to bewitch her to the ball, he finds, to his panic that she has chosen to wear a red gown instead of the white one society expects her as a single woman to wear.
She is humiliated by the reaction of her contemporaries at the ball - especially when Pres refuses to allow her to slink away. And when the dance has been completed he takes her home and politely wishes her “Goodbye” not “Kindly Night”, thus breaking their engagement.
This may sound crass in the 2000’s, but in 1852’s Original Orleans Julie’s scant regard for the manners of the day and her insensitivity to the feelings of others forced Preston to realise a life to her would be one long never ending battleground.
This is the first copy of Jezebel I have owned - because of the abominable quality of the film in the past, I decided against buying one.
But the restoration has been well-behaved and has allowed those of us not archaic enough to like it’s unusual mint condition on it’s cinematic release assist in ‘38 to search for this masterpiece the procedure it was intended.
Bette Davis won an Academy Award for best actress and Fay Bainter won for Best Supporting Actress. Both awards were well earned.
The direction and photography, are astounding, and despite Warners making Jezebel in shadowy and white, it looks extraordinary and gives the viewer a real
sense of the magesty and beauty that was the pre-Civil War south.
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