In 1852 New Orleans, a high-strong Southern belle, Julie Marsden (Bette Davis), gets her kicks from going against society’s expectations and that makes her beau, Preston Dillard (Henry Fonda, The Grapes of Wrath), very angry. Preston eventually breaks off the engagement, but Julie is determined to win him back — easier said than done.
Reaction & Thoughts:
Jezebel has all the trademarks of a great movie — everything comes together. Ernest Haller’s (Mildred Pierce and Rebel Without a Cause) photography is gorgeous, Max Steiner’s (King Kong and Casablanca) music score is lovely, William Wyler’s (Wuthering Heights and Mrs. Miniver) meticulous direction, the story, the acting, etc. — all elements come together to create a rewarding cinematic experience.
People noted at the time that Warner’s Jezebel was Davis’s consolation prize for not getting the Scarlett O’Hara role in David O. Selznick’s Gone with the Wind. Even Selznick accused Jack L. Warner of trying to sabotage his pet project. While there is some truth in all that (Warner did want to cash in on the Gone with the Wind fever that was sweeping the nation), saying that Jezebel is a poor man’s Gone with the Wind is grossly unfair. Plot similarities aside, the film stands on its own merits — it’s drama of the highest order.
The screenplay — credited to Clements Ripley, Abem Finkel, and John Huston (yes, that Huston) — is particularly well-constructed. The melodrama and sociopolitical issues interact in fascinatingly complex ways throughout the whole movie. First, there’s the gender thing. Julie is, on the surface, a bull-headed woman who goes too far with her manipulations. But under closer examination, she is just trying to nip at the heels of an unjust patriarchal society. The film does a superb job exploring the connection between misogyny and racism and the pre-Civil War patriarchal social system.
Also, Jezebel captures a rare cosmic event: the creation of a superstar. You can literally see Davis being transformed from talented film actor to mega-movie-star. Finally, after much struggle and suffering, Davis got what she was craving for: a great role in a super-production with a top-notch director. Davis always gave Wyler all the credit for her improvement as an artist, and I agree with her. He’s clearly the very first director that managed to take Davis’s ‘nuclear’ energy, control it, and channel it into productive work.
I was also impressed with Fay Bainter’s (The Children’s Hour) performance as Aunt Belle. She’s the conscience of the movie. Like Davis, she nabbed an Oscar for her stupendous work.
The huge cast includes George Brent (The Spiral Staircase) as Buck Cantrell, Donald Crisp (National Velvet) as Dr. Livingstone, Spring Byington (You Can’t Take It with You) as Mrs. Kendrick, Henry O’Neill (The Story of Louis Pasteur) as General Theopholus Bogardus, and Eddie Anderson (Cabin in the Sky) as Gros Bat.
Conclusions & Final Thoughts:
Jezebel is an intelligent, interesting, and utterly entertaining movie. It also contains one of Bette Davis’s best performances. Although a few notches below Gone with the Wind, Jezebel is a near-perfect movie — a must see for all classic movie lovers! B&W, 104 minutes, Not Rated.