La egoísta

In Payment On Demand Bette Davis gets the shock of her life when husband Barry Sullivan asks her for a divorce. They seem to be the perfect couple with two daughters both about to leave the nest. They are a social success in their small town, something that Bette has striven very hard for. Possibly too hard.

If it is true that RKO held up Payment On Demand to see how All About Eve would fair, they needn't have worried. Bette under the direction of Curtis Bernhardt whom she knew and worked with in her days at Warner Brothers gave her just the right direction for a spirited performance. Before All About Eve she had left Warner Brothers under a cloud with the stinker Beyond The Forest fresh in everyone's mind.

It takes her the whole film to realize how much she's alienated her attorney husband Sullivan. They're a great social success, but he's lost friends in the process. Particularly Kent Taylor, a young attorney who Sullivan started out in practice with. You have to see how Davis in her helpful way accomplishes that.

In the supporting cast singled out should be stage great Jane Cowl as Bette's mentor and friend who has gone down a path that she foresees for Davis. Also John Sutton who plays a shipboard lounge lizard that Davis pulls back from. A timely telegram from one of her daughters helps.

Though the order they were made was reversed, Payment On Demand proved to be an excellent followup film to All About Eve. Bette Davis was definitely back on top.

Some well-known names in here... Bette Davis was in just EVERYTHING in the 1930s and 1940s. (You MUST see All About Eve, if you haven't already). Natalie Schafer was "Lovey" in Gilligan's Island. Richard Anderson will go on to be Oscar on the Six Million Dollar Man. The storyline is a bit maudlin and depressing ( and rather ordinary, by today's standards.) Back in the day, divorce was uncommon, and much more of a town scandal... which we see when even the newspaper calls the wife to get the sordid details. The jilted wife, being a Bette Davis character, tells him right off. SO many flashbacks. it's all a bit depressing, but was probably more fascinating and interesting back in the day. the irony of the husband's success as he climbs up the ladder, while the marriage slowly comes apart. Barry Sullivan is the husband.

Directed by Curis Bernhardt... had started in the silents in Germany. worked his way to hollywood and directed some good films. This wasn't his best. it's very okay. nothing too new or exciting.

"Payment on Demand" is a good film. It's well made and interesting throughout. However, it has two minor flaws--you really don't care that much about the two main characters and the ending seemed a bit difficult to believe. Still, the acting is nice and the film is worth seeing.

The film begins with a husband (Barry Sullivan) announcing that he wants a divorce. The wife (Bette Davis) at first is in denial, as she insists to herself and others that he'll be back. Here is where it gets interesting. So far, you really dislike the husband as he seems pretty selfish. However, as the wife sits at home contemplating her life, she has flashbacks and through these interestingly constructed vignettes*, you see that she herself has contributed to the coldness in the marriage through her insistence that he become successful at any cost. Through this, you see that the marriage falling apart is both their faults and the film ends on a very strange note--that you'll just have to see to appreciate.

*These vignettes were unusual because they looked like a filmed version of a play. The sets would light up and when they were complete, the lights would dim--just like in a play. And, it worked very well.

Bette Davis works her usual magic with a colorless role as a wealthy society matron whose miserable husband wants her to give him a divorce. Film's best moments are the flashbacks to the couple's happier times, which are filmed in a dreamy, surreal manner. Jane Cowl gives an outstanding supporting performance as an elderly woman attracted to gigolos, but the centerpiece here is Davis, and she's magnetic as always. Filmed just before "All About Eve"--but released afterward--the picture benefits greatly from the shadowy cinematography, but the pacing plods a bit. Not a bad melodrama, but one that is never mentioned when film-historians revisit Davis' illustrious career. ** from ****

It is hard not to expect a lot from a film with such a great title, 'Payment on Demand' promises such a lot, although somehow the story was not the story that entered my mind when reading the title before reading any synopsis. It is also hard not to expect a lot from a film that starred such a great actress like Bette Davis, in a role that sounded like it would fit her like a glove and one she would play to the hilt in a good way.

'Payment on Demand' may not be a great one, but it was gripping and well photographed, scripted and acted. Not to mention quite biting and ahead of its time. It may not be for anyone that doesn't like films that rely quite heavily on flashbacks, but anybody who loves Davis regardless of her character's purposeful lack of likeability will find it quite a treat and much to admire (even if not everything works), me being one of those people.

Beginning with what works, the shadowy photography is quite beautiful to look at and her wardrobe for Davis is fabulous and suits her. The music avoids being too melodramatic, which is amazing considering the type of film/story that it is accompanying. The script is snappy and intelligent and avoids being too soapy or cliched. Regardless of how the story may seem today, it was as said by others actually ahead of its time in its handling of its subject. Done so with truth and bite.

The flashbacks generally entertain and intrigue, even if there could have been less of them. Although Davis' character is as far away from likeable as one can get, the characters on the most part are well written and interesting. Curtis Bernhardt's direction handles everything skillfully. Most of the acting is very good, with Jane Cowl excellent in her part and Otto Kruger a strong presence in his. Best of all is Davis, who is magnetic as usual and attacks her role with gusto.

Conversely, the pace plods at times as a result of 'Payment on Demand' being a little too flashback-heavy. The ending had a running out of steam feel, felt forced and actually somewhat safe for a film that was unflinchingly ahead of its time.

Sadly there was an exception to the acting though through really in no fault of his own. Barry Sullivan has a character that is not as interesting as the rest and was a bit bland as a result.

Overall, pretty good though Davis' performance is better than the film. 7/10