Flor marchita

A soap opera from 1939 starring Bette Davis & Miriam Hopkins. In the lead up to the Civil War, one of a pair female cousins is about to marry when her old beau shows up. Davis, the loyal one (who also carries a torch for the jilted suitor), rushes to the train station to break the bad news to him. When the war breaks out, Davis feeling the now available man is fair game starts to see him & as he leaves to the war & tragically dies there, we find out she was pregnant by him & decides to mask the potentially scandalous offspring among a throng of war orphans which she is in charge of. Hopkins, the other cousin, discovers this & fearing her kin may become a social pariah decides to take her daughter as her own to raise along w/her brood (her husband has passed on since the end of the war) making her think Davis is an aunt rather than her own mother. Davis, ever the selfless one (I guess self crucifixion was considered taboo in those days), agrees to the ruse & has to bite her tongue as she has to see her child raised by her scheming cousin only letting out the occasion outburst when she finds any fault in her 'niece's' deportment. There's a lot of suffering for suffering's sake occurring when all Davis had to do was probably move away w/her child rather than endure such an unspeakable act of betrayal but she agreed to it & to a certain extent, we the audience have as well as we swallow this foulness whole all for the sake of shedding some precious tears.

Here is a classic film which I have never seen. According to lore, Bette Davis and Miriam Hopkins detested each other during the filming of this. Both actresses were forces of nature to be reckoned with, and, if anything, Miriam was even more of an upstager than Bette was. Both actresses however overcome their dislike for each other to turn in thoroughly terrific performances. Bette Davis is marvelous as the initially lovely and later repressed woman with a secret. Bette never turned in a bad performance, so it's natural to expect and get one here. Miriam Hopkins is, these days little-known to contemporary audiences and that's a shame, since she was really a terrific actress. The two stars spar subtly and not so subtly like two dogs circling each other for a fight. There is a satisfying ending which will bring a tear to your eye. The glossy Warner Bros. production has a marvelous Max Steiner score which dosn't hurt one bit. Two great actresses for the price of one, 23 years before "Whatever Happened to Baby Jane?"

With Warner Bros. studio chief Jack L. Warner himself in charge of the production, "The Old Maid" is a fine example of what that studio's "stock company" was able to produce in the late '30s and early '40s. Here is Bette Davis and Miriam Hopkins, assisted by George Brent and Donald Crisp acting up a storm a very soapy piece of melodrama, and making it all very engrossing. Based on Zoe Akins' Pulitzer Prize play and Edith Wharton's novel, this drama of sacrifice, deception, and raging emotions is given a superlative treatment by this impressive company. The film even has the services of Max Steiner's score, underlying every scene with original and adapted source material. Edmund Goulding's direction is sure-footed and he has managed to curb histrionic accesses of the two stars nicely; their acting is quite restrained, yet powerful. Whatever sparks flew between the two ladies off-screen may be justified by what on-screen legacy is left for all to appreciate. Further, the drama depicts the limited and restrictive social/class mores of the period, undoubtedly imported from strict European values.

Everyone who is a fan of Davis' knows that William Wyler (director of Jezebel, the Letter, and the Little Foxes) was Davis' "best" director because he could put her in her place and control her, forcing her to not over-act and use too many bits of business and gestures, etc to distract. Davis did not need mannerisms to get emotion across on screen and Wyler seemed to be able to tell her how to control that; she learned from him, for after Jezebel in 1938, she very rarely acted in a manner displaying lack of control that matched her pre-Jezebel career.

The Old Maid was directed by Edmund Goulding; I don't know much about him except that was considered a "women's film" director and was respected as a talented one. In any event, the Old Maid is the best of Davis' four 1939 films. which include Dark Victory, Juarez, and the Private Lives of Elizabeth and Essex.

In the Old Maid, Davis with the help of Mr Goulding delivers a restrained yet compellingly provocative performance; the film spans a twenty year time period, beginning in 1861 or so with a young Davis ministering to her cousin Delia (played by the talented but very difficult Miriam Hopkins.) Although Miriam does her best to steal each scene from Davis, she never succeeds. Bette Davis is superb in this film; so much so that it really remains one of the few undated movies from the 1930s. True star quality is related to being able to connect with an audience over years and years of time. Ms. Davis certainly has this ability - never better displayed than in the Old Maid.

Favorite scenes: Charlotte (Davis' character) wedding preparation and Delia's subsequent lie - along with the next scene that takes place when Davis realizes that Hopkins' character has lied and ruined her life - watch Davis' face as she utters "it was wicked of you" to Hopkins- (who, by the way delivers a disappointing response.) Now that's star-quality acting!

One of Bette Davis' best films and a great weepie; an unashamed Victorian melodrama but made with great panache and played with all the stops out. When Miriam Hopkins jilts her financee George Brent, cousin Bette gives herself to him and gets pregnant. When Brent goes off and gets himself killed Davis disappears out West so she can have the baby, raise her as an orphan and save what vestige of honour she has left. Years later, when Hopkins discovers the truth, she takes the child to be raised as her own while Davis lurks on the sidelines as old maid Aunt Charlotte. (This is the movie in which Davis gets to utter the immortal lines on her daughter's wedding night, 'Tonight she belongs to me. Tonight I want her to call ME mother!'). The film has a good pedigree. The original play won the Pulitzer Prize and was based in turn on an Edith Wharton novel. Tosh it may well be, but it is irresistible.