Jezebel

Excellent viewing. The quality of the dvd was terrific! To view such wonderful classics in their glorius black & white production with such clarity is like seeing them for the first time on the big screen.

Poor Jack Warner. Imagine having to be the man who denied Bette Davis the role of Scarlett O' Hara. Imagine Bette's rage at the success of that particular picture. Imagine poor Jack's mind working nineteen tot he dozen, desperately searching for something, ANYTHING, to appease the wrath of The Davis.

Happily, Jack Warner came up with this: a 1938 movie about a spoilt southern Belle whose willful machinations eventually lose her the man whom she truly adores.

In my opinion, this is quite possibly Bette Davis' best ever moment in motion pictures. As Jezebel, she is old enough and established as an actress to bring real depth and credibility to the role, while being young enough so as not have established the Davis Trademarks to demean the role with. Playing the part of Julie Marsden, the titular Jezebel, Davis displays a rare understated pathos and a real sense of connection to her role. As with Regina Giddens in 'The Little Foxes', Bette's mastery of her craft is best displayed in the role of Julie. She is an emotional powerhouse, and the 'Let's raise a Ruckus' scene, as well as the final scenes of the picture, showcase that Oscar-winning mastery beautifully.

Henry Fonda is totally acceptable as the henpecked, hapless Preston Dillard, and in places gives a performance to match Bette's own. Other impressive supporting cast turns come in the shape of Margaret Lindsay as Yankee interloper Amy Bradford Dillard and the always-excellent Fay Bainter as Aunt Belle Massey.

Direction for the period is superior, too. Paced perfectly and beautifully photographed, William Wyler (whose talent is surely the only one to rival Joe L. Manckewiecz) has created a visual backdrop of opposite poles of emotion - the hubbub of city life, the quiet languor of plantation, and the terror and chaos of the epidemic are all as convincing as they are captivating. The infamous Red Dress scene has lost none of it's power, even after 74 years, Wyler's depiction of social ostracisation and slow realisation is masterful.

The DVD transfer for a 74 year old film is as good as can be expected. Sadly in parts the contrast between black & white is not as sharp as it could be, and the special features are not so good, but neither of these minor bad points will detract rom the overall majesty of 'Jezebel'.

Highly recommended.

Since Warner Bros. rushed "Jezebel" to beat "Gone with the Wind," it's probably going to be forever known as the Southern costume drama that ISN'T "Gone With the Wind."

That's a shame, because "Jezebel" is a wonderful movie in its own right -- it's a smaller, more intimate story about a love triangle, and a girl who loves more than is good for anyone. Bette Davis sweeps away all the other actors in a brilliant performance, right up to the cliffhanger ending.

Julie Marsden (Davis) is a fiery, rebellious Southern Belle, who flouts the propriety that her stuffed-shirt fiancee Preston (Henry Fonda) clings to. But then she shocks everyone by showing up at a white-gown ball in bright red, and Preston breaks it off for good. A year later, he brings his Northern wife Amy (Margaret Lindsay) to New Orleans.

Julie is shocked and angry, and immediately begins planning to somehow win Preston back to her, because "I'm part of you!" But her plots slowly unravel when a friend of Preston's is killed in a duel because of her, and Preston himself is caught in a yellow fever plague.

It's hard to see why anyone compares "Jezebel" to "Gone with the Wind" -- it doesn't pretend to be epic, and it's a simple love triangle with a very different conclusion. What it does have is a lot of passion and fire, and an anti-heroine that isn't seen very often even in modern movies.

This movie is just soaked in the South, to the point of oversaturation. Mint juleps, hoop skirts, and magnolias in the moonlight. Fortunately it has some solid directing as well as atmosphere, such as the scene where Preston whirls the red-clad Julie onto the dance floor. As they sweep into the center of the room, all the other dancers quietly sweep to the edges.

Bette Davis deserved every gleam of her Oscar for this role. Her Julie is spoiled, reckless and a tad amoral, but she's always likable for her passion, wildness and love of freedom. She doesn't mean any harm to anyone, but she's truly desperate for the man she loves. Her last few scenes in this movie -- especially the desperate plea to Amy -- are simply magnificent.

Fonda doesn't fare quite as well as the stuffy Pres, and it's hard to see why Julie adores him. But the supporting cast is quietly excellent, such as Fay Bainter, George Brent, and Lew Payton in an uncredited but quietly graceful performance as the butler Cato.

Rather than a Southern epic, "Jezebel" is only about one woman, who learns about the nature of real love in the worst circumstances. Bette Davis as her most compelling.