Set at the height of the American Civil War, The Old Maid tells the story of two cousins — Charlotte (Bette Davis) and Delia (Miriam Hopkins, These Three) — and their stormy relationship over a period of two decades.
Reaction & Thoughts:
“Tonight she belongs to me. Tonight I want her to call me mother.”
Extraordinarily moving two-generation saga, sensitively directed by Edmund Goulding (Dark Victory) from a screenplay by Casey Robinson (All this, and Heaven Too) based on the 1935 Pulitzer Prize-winning play by Zoe Akins (an adaptation of Edith Wharton’s 1924 novel), and brilliantly performed by the two leading actresses.
Ostensibly a period piece, The Old Maid has an irresistibly modern quality to it. Director Goulding and writer Robinson managed to take the characters out of the 19th century corsets and give them universality. They did this by astutely focusing on the corrosive gender biases that still exist today.
The Old Maid persuasively and incisively explores the depths of institutionalized misogyny in a Judeo-Christian belief system. And the message is so well embedded in the storyline that you don’t feel the film is trying to teach you anything. The Old Maid is also a great movie about the unique way women relate to each other.
The Old Maid is, in my opinion, the best of the four films Bette Davis made in 1939, her greatest year. I also think the film contains one of Davis’s most ambitious performances. She ages nearly twenty years — Davis goes from naive debutante to bitter old maid — in a vividly compelling and believable manner.
Davis famously clashed with co-star Miriam Hopkins. Davis got annoyed by Hopkins’s determination to make her character more sympathetic. Hopkins, who didn’t want to come across as an unpleasant person, came up with ingenious ways to make her character more likable. Say what you want to say about Hopkins’s vanity, but by refusing to embrace the character’s negative qualities she inadvertently made her character more complex thus enhancing the quality of the movie.
Davis and Hopkins are finely supported by George Brent (The Spiral Staircase), who plays the man the two main characters are fighting for. The cast also includes. Donald Crisp (How Green Was My Valley) as Dr. Lanskell, Jane Bryan (Marked Woman) as Tina, Jerome Cowan (June Bride) as Joe Ralston, James Stephenson (The Letter) as Jim Ralston, and Louise Fazenda (producer Hal B. Wallis’s wife) as Dora.
Tony Gaudio’s (The Adventures of Robin Hood and The Letter) stylish camera work, Max Steiner’s (Gone with the Wind and Now,Voyager) sweeping music score, Robert Haas’s (Life with Father and Johnny Belinda) grand sets and costume designer Orry-Kelly’s (An American in Paris and Some Like it Hot) impressive gowns, all contribute to the film’s strong historical and cultural feel.
Conclusions & Final Thoughts:
In his book Fasten Your Seat Belts: The Passionate Life of Bette Davis, author Lawrence Quick insists that in this film Davis gives “her all-time best performance.” Davis’s performance is definitely a tour-de-force. Miriam Hopkins is pretty great too. Although The Old Maid is not as well-regarded as many films from 1939, Hollywood’s best year, this three-handkerchief drama is every bit as good as classics like Stagecoach, Gunga Din, Dark Victory, Love Affair, etc. B&W, 98 minutes, Not Rated.