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In the opening sequence of
The Letter, director William Wyler delivers a primer on film directing: at a rubber plantation, in the tropical funk of a Malaysian night, the heavy stillness is suddenly broken by shots... and a woman with a gun, descending a staircase. She is the wife of the plantation owner, and the dead man is, ahem, not her husband. Holding the gun so securely is Bette Davis, in one of her greatest performances (her acting of a big revelation, late in the film, is still an astounding piece of emotional fluency). The story is taken from one of those sturdy Somerset Maugham tales that has proved itself in many versions, but this is the keeper; it was nominated for seven Oscars®, including best picture, director, and actress, winning none. Wyler's impeccable direction, and Davis's take-no-prisoners approach to an "unsympathetic" character, make for a completely satisfying picture.
--Robert Horton
Review
The Letter combines William Wyler's smooth direction and a fine performance from Bette Davis into one of the screen's best melodramas. The film is distinguished by its lush production values, including Tony Gaudio's cinematography and costume gowns by Orry-Kelly, but mostly it is Davis who carries the film. She is ably assisted by her co-stars, particularly Herbert Marshall as her husband and James Stephenson as her lawyer. W. Somerset Maugham's source novel provides a strong framework, which had been filmed before in 1929, with Marshall as the murdered lover. Although the Wyler version scored an impressive seven Oscar nominations, it went home empty-handed. ~ Richard Gilliam, All Movie Guide