La femme aux maléfices

`Born to be Bad' is a great melodrama from 1950 directed by Nicholas Ray and starring the normally genteel Joan Fontaine. In this film however, Fontaine plays Christabel, a young socialite who purports to be an earnest and innocent woman, yet has a pretty insidious duplicitous nature. (Think a slightly less deranged Eve Harrington) Throughout the course of the film, Christabel connives her way into winning the heart of a wealthy man who was previously betrothed to the woman who took her in to her home and introduced her to society as well as love and throw away a famous writer who she seems to actually have feelings for, yet cannot give up the allure of marrying for money.

The great thing about `Born to be Bad' is that no matter what happens to her, Christabel is pretty unrepentant, even up until the very end. This is somewhat varied from the great melodramas of the 30's-50's, where the `evil man/woman' sees the error in their ways, or gets their comeuppance. Nicholas Ray of course went on to direct the classics `Johnny Guitar' and `Rebel Without a Cause', the very model from which teen angst films stemmed, but `Born to be Bad' is a pretty simple film that has a lot of good scene-chewing scenes. I particularly enjoyed watching Fontaine practically get whiplash every time one of her men would grab her and kiss her with fervent passion; it's just that cheesy and good. `Born to be Bad' is another fine example of why the melodramas of this era play so much better than any of that genre today, and even in the last couple of decades – it is intelligent, with a great script and even better acting, and is just simply fun to watch.

--Shelly

Joan Fontaine plays a real conniver hiding beneath a soft exterior in "Born to Be Bad," also starring Robert Ryan, Zachary Scott, Mel Ferrer, and Joan Leslie.

Fontaine is Christabel, a young woman from the poor side of the family who comes to town to work for her Uncle John once his assistant (Leslie) has married a wealthy, eligible bachelor Curtis (Scott). Fontaine sets her sights on the big money right away but finds herself in the heavy clinches with an author (Ryan) who's in love with her. She's reminiscent in her way of a non-show biz Eve Harrington.

Using her soft voice and all that gossamer femininity, Christabel manages, with an innuendo here, an innuendo there, a suggestion here, a hint there - to totally break up the engaged couple and drive Joan Leslie right out of town.

Since Christabel has dropped out of business school, her uncle says she can't work for him and needs to return home. In a panic, she throws herself at Curtis at a ball and wins him. The question then is, what did she win? What did he lose?

This potboiler was directed by Nicholas Ray, and I have to believe the man had a sense of humor. Otherwise, how do you account for those love scenes? Every time a man went to kiss Fontaine, he swept her around and dipped her, nearly breaking her neck as the music crescendos. Then there were the shots of Joan, her face in a state of rapture, as she realized she was getting what she wanted. Very campy.

Joan Fontaine is excellent in the role, very sweet in the beginning but becoming austere after she marries Curtis. It's a subtle change but definitely demonstrates her acting ability. She looks lovely in a variety of gowns and dresses.

Robert Ryan is extremely handsome in this, as well as charming, funny, and a real catch. His character sees right through Christabel but wants her anyway. The acting is uniformly good. Mel Ferrer plays an artist who also has Christabel's number and paints her portrait.

"Born to Be Bad" is fun to watch though it's certainly not Ray's best work. I do think one has to allow for the fact that he saw this as a potboiler and directed it the way he did on purpose. If you can't beat 'em - and with this script, how could he - join 'em.

By the way, there's a mistake in the letter that Christabel leaves for Curtis.

I was pleasantly surprised with how much I enjoyed BORN TO BE BAD (1950). The plot, about a woman who infiltrates a circle of friends and destroys their relationships, suggests a lot of melodrama. But the movie is buoyed by an excellent cast of characters and a script that sparkles with wit.

There is drama, to be sure, but there's some nice humor that comes from the characters and their relationships with one another. Nothing gets so serious that somebody pulls a gun or commits suicide or anything. There are no shrill histrionics. The movie is a little racy for Hayes Code fare, but it's not terribly dark or gritty. It's a rather pleasant tale about a selfish woman who only hurts herself in the end.

Robert Ryan is great as the cynical, rough-edged author. Mel Ferrer is great as the witty painter. Joan Fontaine is lovely as always as the maneater who conceals her scheming behind a façade of sweet innocence. This is a sexier, sneakier Joan Fontaine than viewers may be accustomed to. Joan Leslie, still only twenty-five, is fine in her adult role, after years of playing ingenues. Zachary Scott rounds out the principal cast as Leslie's rich fiancé.

Nicholas Ray deftly handles the directing duties, in both the busy party scenes and the noir-ish love scenes.

The movie isn't very deep or compelling, but it is very watchable thanks to the terrific performances and some wonderfully witty lines. Robert Ryan steals the show.

After years of watching films and studying their art for my own pleasure, I've decided that some of the most interesting and least appreciated movies are those released under the RKO logo. Born to be Bad is a prime example. Made in 1948-49 (not released until '50) under the aegis of Howard Hughes while he was alternately pursuing and manipulating Joan Fontaine, this movie has a unique, non -studio look. Very little location work was done, but doesn't it feel like San Francisco (more than Vertigo!). Literate script, intelligent casting, stylish sets and costumes (New York designer Hattie Carnegie for Fontaine, RKO in-house man Michael Woulfe for Joan Leslie) add up to an engrossing, adult 90 minutes. Speaking of adult; there's been some comments here about the Mel Ferrer character: "Is he or isn't he gay?" IS THERE ANY DOUBT? And check out one scene, unbelievably adult for 1950 Hollywood: When Fontaine returns home after a torrid sexual encounter with Robert Ryan, she quickly takes a hot bath before husband Zachary Scott returns home. Scent of another man? Pretty hot stuff in retrospect. Check this movie out when you get the opportunity!

Made in 1950, this little gem was no doubt overshadowed by All About Eve (1950), the movie that made Anne Baxter and which also won six Academy Awards. The latter is, of course, a longer and more complex narrative, but both are fine movies. This was Nicholas Ray's sixth directorial effort, after Knock On Any Door (1949), In A Lonely Place (1950) and a few others.

No awards for Born To Be Bad though, but both stories have essentially the same theme: how a scheming woman sets out to get what she wants, and at any cost. Well, that theme has been done many times of course, but this (and Eve) stand out.

The narrative is straightforward: Christabel (Joan Fontaine) arrives on the social scene in San Francisco to make a name for herself. She latches onto Curtis Carey (Zachary Scott), the fiancée of her cousin Donna (Joan Leslie), succeeds in disrupting their marriage plans and then persuades Curtis to marry her. And, all the while she's in love with Nick Bradley (Robert Ryan) who is, in one sense, just as ruthless as she: an ambitious author determined to get recognition. Nick -- poor fool -- loves Christabel but also sees her for what she is. But, as you know, you can't fool all the people all the time; so eventually, Christabel gets her comeuppance for stealing Curtis from Donna while playing around with Nick at the same time...

In and around all of this pot-boiling is Gobby (the always effective Mel Ferrer), the artist who watches the foibles of humankind with cynical, but not unkind, objectivity (the role is, of course, the one that puts the viewer...er...in the picture).

The cast is uniformly excellent, although I have rarely liked Joan Fontaine (her sister, Olivia de Havilland was the better of the two, I think) as an actress. Having said that, I must say, however, that she excels in the role of the scheming femme fatale – she is truly hateful, and does it well. Robert Ryan is always good (at least in the movies of this era) and plays the hungry author like a wolf tearing at lambs; Zachary Scott is well cast as the duped husband. Joan Leslie is adequate but outshone by the duplicity of the role Joan Fontaine played to the hilt.

The most effective actor, however, is Mel Ferrer who verbally jousts with everybody, and delivers some of the most effective lines in the movie – although Robert Ryan has his fair share of wicked one liners also (e.g. in reference to Christabel, Nick muses to himself, "If she played her cards right, she could win me!" Towards the finale, he says to her: "I love you so much I wish I liked you!"). See this movie for the dialog, if nothing else. You won't be disappointed... promise.

So, why didn't this film get the recognition it deserved? Well, it came from RKO studios, which, at that time, was owned by Howard Hughes, a multi-millionaire who wasn't much liked by any of the Hollywood moguls. Hence, at a guess, I'd say favorable distribution and advertising throughout USA was probably lacking...