Le Grand Mensonge

To my mind this film is perfect - a classic example of what the studio system of the golden years of Hollywood could achieve. Strong direction, witty dialogue, beautiful music, sublime cinematography, crisp editing, gorgeous production design and costuming, brilliant performances - every element of this film is perfect.

Add to all that the daring (for its day) story-line, Bette Davis at the height of her dramatic powers and at her most beautiful, and Mary Astor delivering what I think is one of the great screen performances of all time, and you have a very special film indeed.

Although the film may seem to have dated elements, especially in the depiction of the African-American characters, if you let yourself watch the film with 1941 eyes you will be richly rewarded. Besides which the wonderful Hattie McDaniel brings so much depth to what could have been a simple stereotype.

As you can tell, I love this film. I understand Bette Davis and Mary Astor loved working together - and you can see that on the screen. The scenes between the two of them are electric, with so much being said beyond the words. Thank God Astor won an Oscar for her work here. She truly deserved it.

Though some may say the plot's too far-fetched, I say what Hollywood story isn't, to some extend or another? Even so-called bio pics stretch and bend the truth. Anyway, when you have actors that give great performances, and keep the drama from becoming melodrama, and make the implausible seem plausible, and keep your attention to the end, well, what the heck?

Mary Astor gets to show off her musical talent, as concert pianist Sandra Kovak, who married Peter Van Allen (George Brent) after a drunken whirlwind fling (and while he was rebounding from his breakup with Maggie Petersen, played by Bette Davis), only to discover her divorce from her previous husband wasn't final yet. When Peter's offer to marry her for real (and sober) this time is rejected in favor of her planned concert tour, they break up, and he realizes his heart still belongs to Maggie. Soon, they're back together and married, but they haven't heard the last of Sandra.

There's a lot of soap opera elements here: a baby, a presumed death, a bargain, a lie, a threat, a confession, and a lot of entertainment.

And as a bonus, there's Hattie McDaniel as Violet.

This is also the movie that gave rise to the idea that Bette spoke a ridiculous line, where she repeated the name "Peter, Peter, Peter!" Actually, she said the name "Pete" twice, while thinking wistfully of her husband. And it was spoken with melancholy, not in rapid-fire succession, like a stuck record needle.

For that alone, the film's worth watching, though the story will keep you entertained.

"The Great Lie" provides an example of what the Warner

Bros. stock company could produce during the early 40s.

Bette Davis is her usual strong character, George Brent

his standard wooden but creditable personality, and Mary

Astor in a surprisingly fiery turn, is a performance which

contributes a winning balance.

The best scenes are confrontations and interactions between Davis and Astor, and they play the dramatics for

all they're worth.

It's an entertaining film, with an array of fine character

actors (including scene-stealing Hattie McDaniel) to bolster the proceedings. Max Steiner's score is on hand to

add atmosphere to the action.

Am a great fan of "classic" film, and films made in "The Golden Age". While George Brent has always been hit and miss for me, Bette Davis has always been wholly deserving of her legendary reputation and director Edmund Goulding directed her to great effect in 'The Old Maid' and 'Dark Victory'. Have liked a good deal of other Mary Astor performances and Hattie McDaniel and Lucile Watson were always watchable regardless of the overall quality of the film.

'The Great Lie' is very impressive in many areas and did find myself liking and enjoying it a lot. Considering what it had going for it, part of me was also a little disappointed and thought that 'The Great Lie' could have been even better than it turned out. Instead of the great film it could easily have been, it was instead good to very good with great elements. It represents Goulding, Davis (do prefer the mentioned films of theirs), composer Max Steiner and especially Astor are well represented. Have seen a lot better from Brent though.

Will agree that the story is often implausible and in particularly credibility-straining parts truly ridiculous and some strands from another happen too fast. As can be the case with melodramas, parts of the script lay it on a little too thick on the soap.

Brent is for my tastes rather bland in a pretty colourless part.

Davis however is great. Not quite one of her finest performances, but she is beautifully retrained while very much engaged with the increasing intensifying drama, as the intensity increases she increasingly pulls out all the stops. McDaniel and Watson shine in support in roles perfect for them and ones they always played very well. Best of all is Astor, who is brilliant. While she was a fine actress, did find myself being amazed at how much ruthlessness and fire she had in her and it was absolutely thrilling to watch. She and Davis are dynamite together. Goulding directs sympathetically while allowing Davis and Astor to have fun without being too laid back about it.

It is a lush-looking film, the photography, the costumes, the sets, all lovely on the eyes. Steiner's score showcases his unmistakable style in a sweeping and dramatic but not too overpowering score beautifully orchestrated. The script is not perfect, but has more than enough wit, poignancy and intensity to spare. While the story could have been better, it wasn't dull at least and the character interaction kept it engrossing.

Overall, good but could have been great. Davis and Astor are the main reasons to see it. 7/10

For many fans of classic films, this is a fun favorite, mainly because of the performances of Bette Davis as Maggie and Mary Astor as Sandra. George Brent plays a playboy, Pete, who marries concert pianist Sandra, only to find out a few days later that her divorce wasn't final. Apparently (though this isn't explained) he was involved with Maggie shortly before, but she refused to marry him because he's a drunk. However, she does marry him.

There's a problem, though, which is that Sandra turns up pregnant. Then Pete is missing in Brazil somewhere and is believed dead. Maggie talks Sandra into having the baby and letting her and Brent raise it, in exchange for supporting Sandra financially, and she can continue with her concert career unfettered. The two go to a cabin in Arizona where Sandra, a big drinker with other lousy habits, can be supervised.

Well, it's pretty hilarious and only gets better. Davis and Astor give as good as they get to each other, with Sandra screaming that she's an artist who can't get nourishment from a lettuce leaf, and Maggie offering to make her a sandwich. And we all know what happens - Sandra is a nasty you know what and reneges big time.

This is truly a wonderful movie for some reason - actors in those days were able to make you believe anything and go right along with it, and take the plight of the characters seriously. This is probably because the stories were character-driven and audiences invested in the people and therefore bought the story.

Well-directed by Edmund Goulding, the performances are wonderful from the women, Davis, Astor, and Hattie McDaniel as Maggie's maid, who again proves her strong acting abilities. Brent, who made a career out of supporting these huge female stars, is good.

Can't beat this one for entertainment.