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Jezebel (Sous-titres franais)


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Product Details

  • Actors: Henry Fonda, George Brent, Bette Davis
  • Directors: William Wyler
  • Format: Black & White, Closed-captioned, DVD-Video, NTSC, Original recording remastered, Subtitled
  • Language: English
  • Subtitles: English, Spanish, French
  • Region: Region 1 (US and Canada This DVD will probably NOT be viewable in other countries. Read more about DVD formats.)
  • Aspect Ratio: 1.33:1
  • Number of discs: 1
  • Canadian Home Video Rating : Parental Guidance (PG)
  • Studio: Warner Bros. Home Video
  • Release Date: May 30 2006
  • Run Time: 104 minutes
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (27 customer reviews)
  • ASIN: B000EU1Q1I
  • Amazon Bestsellers Rank: #42,508 in DVD (See Top 100 in DVD)

Product Description

Jezebel (DVD) (Remastered)

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Customer Reviews

4.3 out of 5 stars
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Most helpful customer reviews

2 of 2 people found the following review helpful By Review Lover on March 11 2004
Format: DVD
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.
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By E. A Solinas HALL OF FAMETOP 50 REVIEWER on Feb. 22 2007
Format: DVD
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.
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Format: DVD
"Jezebel" is a true classic released in 1938. Its plot about a woman, Julie, who loses her fiance, Preston, because of being greedy and manipulative is brilliant. Its powerful theme keeps audiences watching every scene closely. The plot builds up to the end, especially as her former fiance returns after being gone for one year. She's waited so long to beg for his forgiveness. Problem: he's now married. Jelousy begins lingering through every scene, keeping the plot interesting. There is never a dull moment through any movie detail. The intensity builds as yellow fever strikes, which offers a brilliant conclusion.
The set construction and the costume designs are amazingly ahead of their time. Few other movies in 1938 mastered such elaborate settings so flawlessly. Every detail is accurate to the actual 1850's New Orleans style.
Bette Davis deservingly won her Oscar for Best Actress for her role as Julie. She proves as always that she is one of the greatest and most influencial actresses of Hollywood history. Her heart and soul through her character is obvious. Henry Fonda's role as Preston is beautiful. His character's anger and love are expressed to his fullest. In this movie, Davis and Fonda answer why they deserve their legendary status. All other actors, major or minor, also perform their roles wonderfully.
"Jezebel" is a great movie for those looking for a great movie classic and/or a unique love story. This is sure to please audience for many more years to come.
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Format: VHS Tape
Hollywood explored the antebellum south twice in the movies in one year. First JEZEBEL with Bette Davis as the tempestuous Julie, then a year later in GONE WITH THE WIND with Vivien Leigh as the equally tempestuous Scarlet O'Hara. Both films romanticized the plantation life, but it was director William Wyler, who showed a darker, grubbier underside to a way of life that Victor Fleming would gloss over just one year later as director of GWTW. The world of the prewar southern plantation was firmly grounded on a strict separation of both race and gender. Regardless of how Julie's fiance Preston (Henry Fonda) is portrayed as a man of unflinching integrity, he is as anti-abolitionist as any white-hooded redneck. Blacks in this film are permitted none of the dignity that Hattie McDaniel showed as Mammy in GWTW. The slaves of JEZEBEL are strictly the shuckin' and jivin' no-account blacks that so shamefully were typical of most Hollywood films of the era. I cringed when Julie merely had to clap her hands to gather dozens of slaves to accompany her in song. Finally, there were the women who seemed to have been born wearing those ubiquitous hoop dresses bouncing in nearly every scene. A feminist interpretation of JEZEBEL suggests that southern women could not rebel against men, except in mildly juvenile ways that smacked more of a symbolic call for independence than a true call. Early in the film, Julie wishes to wear a red dress to a formal ball. Preston, as well as everyone else whom she asks, declares that her wearing red would be scandalous, but she browbeats him into accompanying her. You would think that her decision for red would be her way of drawing a line in the sand of gender inequality, but at the dance, she lacks the courage to do more than make a token entrance.Read more ›
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