Hölle, wo ist dein Sieg?

I saw this movie a long time ago - perhaps 50 years to be exact and that time I was not able to comment on it, except of course "I liked it" or not. But now I have just seen it I can say it's a dark picture but plenty of love. There are no kisses not even passionate words, but we feel love emerging from the scenes, not only between a man and a woman, but love for children and most of all love for life. And here, the contrast between hate and love, seems to be an allegory of evil(The Duchesse, a poisoned psycho woman) and good (The Duc and Henriette). Barbara O'Neil, as the Duchesse is wonderful and she deserved an Oscar nomination. Boyer is good in his role and so is Bette Davis. And the children? Well, children are children - always sublime. The movie runs in a very good pace and the only negative point is the anachronism fault, I mean the ball scene where we listen to "The Merry Widow". The year is 1846, but Franz Lehár, his composer was born in 1870, and the operetta premiere was in 1905.

Director Anatole Litvak does an exceedingly good job with this romantic period piece, as do each of the actors involved. Bette Davis plays Henriette Deluzy-Desportes, a governess in 19th Century France, who lands a position working for Theo, Duc De Praslin (Charles Boyer) and his family. The childern adore the new, spirited governess, but Boyer's psycho bitch wife, the Duchesse (Barbara O'Neil), is resentful of Henriette's intrusion into the family. The new addition to the family works her magic on everyone but the Duchesse. Theo and Henriette, predictably, begin to fall in love, which further complicates things, sending the crazy wife into even more rages of insanity. All of this builds momentum until a climactic crime of passion takes a life.

Davis is a kick to watch as she struts her stuff with an excellent French accent. Boyer is awesome in this dark, brooding, but romantic role. And O'Neil deservedly got an Oscar-nomination for her role, full of anger and energy. But the real stand-out, interestingly enough, is Richard Nicols as Boyer's so-adorable-you-just-wanna-squeeze-him son Reynald.

Overall, this dark, dreary film is a highly-satisfying experience, slightly off-put by the preachy, silly final scene in the classroom.

This excellent period drama is based on a popular novel of 1939 by Rachel Field. It told a version of the story of the murder, in Paris in 1847, of Fanny Sebastiani Choiseul-Praslin, Duchesse and wife of Theobald, Duc de Choiseul-Praslin. Fanny was the daughter of Marachal Horace Sebastiani, one of the leading political and social figures in the July Monarchy or Orleans Monarchy of France, under King Louis Phillippe (1830 - 1848). This was a middle-class supported monarchy, and was far more liberal than it's predecessor monarchy under King Louis's cousins the Bourbons. But by 1847 it had grown corrupt, and it was suffering a series a serious scandals. The murder of Duchesse Fanny by her husband was the last real blow. Supposedly the marriage had collapsed due to the growing relationship between Theobald and the children's governess, Mlle. Helene Deluzy-Desportes. The actual relationship between the governess and the Duc remains questioned, although most believe she was his lover. Rachel Field, a descendant of Fanny and her later husband, Rev. Martyn Field, presented the governess as the victim of circumstances (working in a household that was falling apart). Finally, whatever the cause, Theobald beat Fanny to death, and tried to make it look like a burglar did it. Instead the Surete was not fooled, and Theobald was arrested. But while under arrest he took poison, and he died denying his guilt and denying the involvement of the governess. Fanny came to America, where she taught school and married into the Field family (her brother-in-law Cyrus was a financier who laid the Atlantic Cable, and her brother-in-law Stephen was an Associate Justice on the U.S. Supreme Court). As for the French, they blamed the government for allowing the Duc to escape justice, and within a year the July Monarchy was overthrown. Marachel Sebastiani (Montague Love in the film) died prematurely in 1851 - the last victim of the crime.

The film, except for the pro-Deluzy-Desportes slant, is excellent with a fine, restrained performance by Davis, an intense one by Boyer (who finally explodes in one scene where he shows his thorough hatred for his wife), and a marvelous performance by Barbara O'Neill as Fanny. I would thoroughly recommend this one for movie fans - a fine example of the best of Warner's historical films.

Based upon the popular 1937 novel written by Henriette Duluzy Desporte's grandneice, one Rachel Field, this movie was a prime vehicle for Bette Davis. This was considered Warners big "prestige" picture for 194O, and it shows: no expense in the production costs were spared, it's an exceptionally finely crafted motion picture. Based upon factual incidents, the story tells of how the notorious 1847 murder of the Dutchess (played with venomous relish by the tall & stately Barbara O'Neil) made Henriette the most notoriously suspicious and despised woman in Europe for a time. Originally, O'Neil's interpretation of the horrendously neurotic Dutchess was played looking a disheveled, unkempt mess physically. The producers thought her appearance would be a bit too uncooth for viewers to endure, but that decision robbed O'Neil of a far more effective characterization. As Henriette, Davis is much more subdued than normal, and her performance is genuinely affecting: another victorious portrait added to her quickly growing gallery of unforgettable heroines and vixens. Charles Boyer is fine as the Duc; he and Davis have a most interesting, classy chemistry between them. The children include Richard Nichols (as the adorable Raynald), Virginia Weidler and June Lockhart. Anatole Litvak's direction keeps this 14O minute saga flowing: the result is a handsome period piece which is done in old Hollywood's best style.

Bette Davis had so many memorial film performances that it's hard to rank them - but her role here is just superb, particularly because it shows how subtle and nuanced she could be. While "Now Voyager" and "All About Eve" may be more impressive (because she plays stronger characters) this is really a stunning, quiet, yet wonderful job.

You genuinely feel like these screen children love her. And, given the time period, you feel like Boyer does to.

This is a rather long film, but the direction is solid and it just keeps moving along.

The script is really solid as well. There is little wasted time. Everything clips along rather nicely and I was surprised at how I fell under the spell of this film...