Hölle, wo ist dein Sieg?

If you're looking for a chain-smoking, scenery-chewing Bette Davis, this is not the movie for you. First of all, she's sweet and kind, soft-spoken and rather docile. A great change-of-pace for the legendary actress. She has excellent chemistry with her leading man, Charles Boyer, (in their only film together). Barbara O'Neil, (who the year before had played Scarlett O'Hara's mother in "Gone With The Wind") is the nasty character in this one. (Her performance is good, but those false eyelashes that she wears are distracting! Max Steiner's musical score was never better.

Anatole Litvak certainly loved France.He made films in that country during the previous decade ,some of which were remarkable .He ended his career in Victor Hugo's land but his latter efforts were not really exciting.Even when he was in Hollywood ,he never forgot it as this "all this and Heaven too" ,"Act of love" and parts of "decision at dawn" bear witness.

France is currently rediscovering Litvak who was brought down ,like so many great American directors (Zinnemann ,Wyler,Stevens),by the notorious critics of the Nouvelle Vague and their fusty Cahiers du Cinéma.But now their diktats are over and thanks to many contemporary historians of the French cinema (Bertrand Tavernier,Patrick Brion),he is given in the country which was another homeland to him the place he had always deserved.

"All this and Heaven too" might be my favorite Litvak movie,although his American career is as rich as that of any director .In spite of a historical gaffe ("that woman overthrew Louis Philippe "is as laughable as Marie Antoinette's sentence (which she never said) "let them eat cake".

La Restoration and Louis -Philippe: After the 1789 French Revolution ,the nobles emigrated and Napoleon ,who was eager for a Court,made a new nobility.His officers ,who were of common birth,were conferred a title :"Baron d'Empire" for instance;that was Henriette's grandfather's case.

Henriette is of that kind an old noble such as la Duchesse de Praslin can only treat like dirt;those nobles were impostors!With Henriette,it was hate at first sight,even before she became dear to the duke and the children.

That old nobleness,epitomized by the duchess ,was all bigotry,religion ,but they were socialites first.In the XIX th century ,those chic ladies did not care about their children they left to their governess .The Duchess was not alone: Balzac,Maupassant,Flaubert (Madame Bovary did not really like her daughter) and even a writer for children such la Comtesse de Segur painted a picture of the "bad" mother .The story happens in 1846-1847,and Louis -Philippe's days as a king are numbered.The writers are asking for Republic:Lamartine who is mentioned in the film,and Victor Hugo -who wrote the article about Henriette in la Conciergerie- were not the least ;the latter was forced to exile himself after the fall of the short-lived Second Republic (1948-1952).

Had he lived half a century before,the duke would have been part of the daring nobles such as La Fayette who fought for the Revolution.Even if we are not told so,his union was probably a marriage of convenience.The Duchess is egoistic,neurotic,hateful ,incapable of love and affection her children long for.A "pious " woman ,but a woman who uses a priest to keep a close watch on her husband.Note the presence of the priest in the bedroom of a dying child.

Litvak's directing is mind-boggling.He perfectly recreates the atmosphere of the desirable Hotel Particulier where the duke lives.His style is refined : the ball which we see on reflection on the mirrors is a scene Max Ophuls would have died for;the brief moment of happiness on Hallows Eve ;the snow ,symbol of purity:the duke is as virtuous and as loyal as Henriette.The performance in the THeatre Royal which the king attends and which finally backfires on the two heroes:Racine's "Phedre" -Rachel who is mentioned was the thespian of the era,her portrayal of the Greek heroine (whose situation is not unlike the chaste lovers') was praised to the skies then-.

The prologue and the epilogue are excellent: the long flashback is introduced in a very original way.Davis ,in front of the blackboard full of trigonometric formulas ,begins to tell her tale. One of her lines in the epilogue is the most moving in the whole film :"Now,you write the ending of my story" she tells her students .

An absorbing screenplay,where even a fairytale (do you want to be happy when you are young or later when you get older?/I'd rather be happy later:if I've got everything now,what can I expect from life afterward?) plays a prominent part.

French Charles Boyer and Bette Davis give superlative performances and the supporting cast(Barbara O'Neil almost steals the show from Davis sometimes) including the four children (special mention for little Reynald) is up to scratch.This is the Creme de la Creme of the melodrama genre.

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.

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...

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.