Perfidia de mujer

...in fact, a deeply disturbing film! What's most disturbing is that back in those days, people were supposed to be shocked and disgusted with the character Rosa Moline, (needless to say, so brilliantly acted by Davis) but today, I'm sure a lot of viewers would sympathise with her desperation to get out of the confines of a dead-end life. From the beginning, we learn of her hatred for life- her husband being a doctor is a sick irony!

If morbid humour is your thing, then you'll love this film. Especially when she says things along the lines of "the only people who are doing a worthwhile job in this town are the undertakers who carry the dead out of here". The only flaw in this film, is the ending. Not enough explanation is given. Give it a try.

Is BEYOND THE FOREST an overripe and over-the-top potboiler or a potent, underrated film noir? Both, actually, with an emphasis on the latter. This is film noir's MADAME BOVARY wherein a provincial housewife's romantic fantasies and big city dreams bring tragedy to everyone in her orbit and it's the "twisted sister" of Vincente Minnelli's ode to Flaubert's driven, deluded anti-heroine, released the same year. Nineteen forty-nine was the year of the desperate housewife in Hollywood- in addition to Bette Davis & Jennifer Jones, there's also Audrey Totter in TENSION and Lizabeth Scott in TOO LATE FOR TEARS, postwar noir women who "expect and demand a better life and plan to achieve it by any means necessary".

Forty year-old Bette Davis "with her low-cut peasant blouses, long black wig, and carmine lips" is unquestionably miscast but, like the film itself, that actually works in a perverted sort of way. If Virginia Mayo had been cast (Davis actually lobbied for her), it would have begged the question, "why doesn't this beautiful girl just hop a bus to New York or Hollywood or something?" but with a not-so-young-anymore Rosa -out of options and rapidly running out of time- there's a palpable sense of entrapment as the irrational resentments that have simmered for far too long are ready to erupt. Still, the movie also has its amusing aspects and you can't help but smile as Rosa sashays down the street and all the men stop and stare. How could a past-her-prime, dimestore siren like that keep Joseph Cotten and David Brian in such thrall? Why, sex of course. Rosa no doubt did things in bed they couldn't get enough of, much like the hold Wallis Simpson had over the Duke of Windsor. The crime of Rosa Moline was similar to that of Phyllis Hochen in THE UNHOLY WIFE (desperate for a way out, she ends up shooting her husband's best friend) and from the overblown opening prologue scroll to the mounting hysteria and rampant symbols of Hell that culminate in a "shocking conclusion", Vidor's "Bovary" casts a spell as well. Written off as a "camp classic" for years, BEYOND THE FOREST has been reassessed of late:

Bette Davis tires of life married to a small-town doctor, so she takes off to Chicago for an affair, hopping the most monstrously phallic train in film history. Her frenzied performance is met on the other side of the camera by director King Vidor, who matches her excesses shot for shot. The "What a dump!" line quoted in WHO'S AFRAID OF VIRGINIA WOOLF? originates here, though it's actually one of the film's more naturalistic moments. Much of Vidor's late work flirts dangerously with camp; this 1949 effort, I'm afraid, frequently succumbs, though it has a weird kind of power and integrity. With Joseph Cotten and David Brian. -Dave Kehr

BEYOND THE FOREST, with its main character's dissatisfaction with small- town middle-class morality, its big-city expressionistic mise-en-scène, and Davis, with the most extreme portrayal of a malignant bitch of the forties, we have a work that is firmly rooted in the tradition of film noir...this paean to amour fou is one of the most operatic of all films noirs -at once both moralistic and obdurate, grandly emotive, overbearing, and magnificent. -The American Film Noir

A TV perennial back in the day, legal hassles prevent King VIdor's unsung noir from being shown today. As of this writing, it's not in the Warner Archives and TCM hasn't aired it in well over a decade. That's a shame.

This is utter schlock that wouldn't look out of place in a marathon of bad movies. Here are a few pointers as to how outdated. A moralist intertitle announcing we're going to see a film about naked evil. Religious King Vidor at the helm. Omniscient narrator hovers around town setting up the story.

But this is Bette's show as well. Reportedly she was disdainful of the script and tried to walk out several times. I don't know if you can tell by watching that she hates it, the Bette Davis devout might, I haven't had the chance to watch her in a while. She's always so eminently watchable however and no less here, sneering and scoffing her way through the role of contemptible manipulatrix tormenting her milquetoast doctor husband.

She is the 'evil' of the intertile, her naked lust for money, her haughty ego that she's too good for the small Wisconsin town. Her burning desire and ego are visually exemplified in the fire of a nearby sawmill that burns through the night, visible from her window. She writhes and winces a lot, a picture of someone completely at odds with themselves. In a most heinous moment of the story, she calls in her husband's medical debts from the poor workers in town, all so she can go to Chicago to buy clothes. Once there she hopes to elope with a rich guy.

It's all as incorrigible as this. But this is Bette's show, which means a struggle with the fire that burns inside of you, a struggle to harness explosive talent. What does this mean?

This is the film where she famously says 'what a dump'. A more fiery moment however for me is when she demands from the rich guy to marry her. She wants out of the dump badly. Rich guy raucously laughs and points at her, laughing. Is Bette phased at all? She crosses the room and slaps him, hard, and cut to her looking triumphant. He kisses her.

The film is about a headstrong woman who is unhappy with where she is in life. Written as it is, by some guy in the 40s, the film goes out of its way to portray her as truly vile; not just an unhappy wife but unhappy because she can't buy nice shoes and clothes. Fierce but deliberately shown as idle and superficial. But what if we decide to not settle for the cartoon manipulatrix grafted on top of the unhappy woman and instead see someone who wants out from a role she has been squeezed into?

Being a headstrong woman who wants to be in control of her own choices was enough to label you spoiled and ungrateful in the 40s. Bette knew first hand.

Beyond the Forest is directed by King Vidor and written by Lenore J. Coffee and Stuart Engstrand. It stars Bette Davis, Joseph Cotton, David Brian, Ruth Roman, Minor Watson and Regis Toomey. Music is by Max Steiner and cinematography by Robert Burks.

Resentful of her small-town life, Rosa Moline (Davis), a married woman, schemes to run off with a rich businessman - and she will do anything to achieve her goals...

Whilst not being on the same divisive page as something like Johnny Guitar, King Vidor's picture treads the same pathway to claims of camp and feverish staging. Davis is clearly miscast and too old for the role, whilst she overacts accordingly to either delight her fans - or irritate film fans after a noirish pot boiler of some substance. It's a tough call, and you really have to point the finger at Vidor for not reining Davis in, but if in the zone for a bit of Bovary histrionics tinged with noir flavours this has much to offer.

The pros and cons of small town Americana are vividly brought to life here, as is the central focus of a woman out of her dreams. Metaphors are rife to run in conjunction with the psychological imbalance of Rosa's mind, be it the mill furnace that lights up the sky at frequent intervals, or the steam locomotive that thunders through the centre of town to take folk off to the big city of Chicago, the aural smarts are superbly inserted by Vidor.

Using flashback as a starting point, Vidor firmly enters a noir realm, which continues throughout as he is aided considerably by Burks' photography. One of Hitchcock's main cinematographers of choice, it's a real pity that Burks didn't get hired for more noir ventures in the 50s. His work here is superb, low lights and side lights come to the fore in the final third as the femme fatale axis of story reaches a potent finale. Thus as Steiner rumbles away with his shock and awe, the pic is a tech credit force.

Sadly there's some fault lines to be irked by. Roman is utterly wasted in a pointless role, there's a Native American house maid character (Donna Drake) that's the focus of some unsensitive era treatments that's sole purpose seems to be just to make Rosa out as more of a git than already established. While Toomey and Watson (the latter a key character) are badly under used.

However, whilst not jumping on the "it's a masterpiece" bandwagon, this is a film of many filmic pleasures - perversely so me thinks... 7/10

"Beyond the Forest" is finally getting the respect it's always deserved. A number of film historians are finally appraising this masterpiece as the work of art it is. Thanks to its phenomenal star, Bette Davis, this King Vidor production has had to struggle with a bad reputation since it was first seen back in l949. Davis was going through a breakdown: she hated her studio, her marriage was dead, and Jack Warner finally kicked her ass off the Warner lot. Forever after, Davis always slammed everything about "Beyond the Forest" and people who never even saw it, joked about it and tore it to pieces. Especially, the gay crowds. When I saw "Beyond the Forest" at the old Regency Theater here in Manhattan back in the 80s, no one could enjoy it, since the gaggle of screeching queens ruined it for everyone by camping it up. Davis' inner turmoil and fury is what makes Rosa Moline literally seethe with fury, bristling with electricity in her greatest role. No other major star would have taken the risks that Davis does. As to the many comments about her black wig, make-up, clevage. This is how small-town women tried to look during that era. The Maria Montez look. I remember this from my small Southern town. All women dyed their hair black, grew long tresses, etc. Max Steiner's musical score is among his greatest (next to another masterpiece that Bette always put down, the l942 "In This Our life.")Davis' role is among the greatest ever put on screen. She displays her genius here like never before. To those who like to be clever and cute and view this gem as "camp", get a life. Davis is at her most brilliant. She nearly matches her brilliant portrayal of a psychopathic Southern Belle, Stanley Timberlake, in the great "In This Our Life." Bravo to Bette! To new viewers, watch it alone without the wisecracks, giggles and smart inside jokes. Warner Brothers did itself and its great star proud.