Deception

...Of Claude Rains' character in this picture. As has been stated, he is an older guy who loses out on Bette Davis to a younger guy. The younger guy is Paul Henreid playing a WWII survivor, thought dead by Davis. When she spots him at a concert in NYC years later, the handwriting is on the wall for Rains.

The mise en scene is the world of classical music, about which I know little but which sounds, uh, classical in several pieces played during the film. Henreid plays a cellist, so the pieces for the cello leave me out completely. Rains is a master composer, a genius referred to by his last name, Hollenius, thereby cementing his genius label. Not only is he a genius, he is a vengeful genius.

One does not often encounter such a high level of acting as that found in "Deception", and it elevates the film above the ordinary. All three principals are outstanding, especially Rains, whose performance towers over the other two. It is a character study and a straight drama. Speaking for myself I was not aware of any elements of 'noir', but if you are a fan of good acting, "Deception" is for you, as it is exceptional in this department.

On a recent Turner Classic Movies broadcast, I finally caught up with all of this one, having seen only snippets of it before. Everybody involved was obviously given free rein, from the lead actors all the way through to every behind-the-scenes artisan, the best that Warner Brothers could muster at the time. Claude Rains and Bette Davis spar in magnificent style, with Rains, stroking the fur of his pet Siamese cat, winning by default, since he was given a role which is so over-the-top that, in the hands of a lesser actor, it would have verged on outrageous camp. (Check out the rococo New York brownstone mansion in which he's ensconced, more magnificent than anything a lesser studio could provide for a monarch in a story involving royalty!)

Poor Paul Henreid has a particularly thankless role to play, swinging like an erratic pendulum between jealous tantrums and thoroughly deceived naïveté, but his simulations of the movements of a top-flight cello musician are convincing enough to allow all to be forgiven.

Erich Wolfgang Korngold's music is probably the film's chief asset and it probably sounded superb over the monophonic sound systems when this film was released, since Warners' sound technicians were the best in Hollywood back then. (Unfortunately the soundtrack during the telecast I heard was very wobbly - a real disappointment. Wonder what the problem was, since this certainly isn't the case with many films dating even further into the past.)

While it may not be a delicacy fit for a cinematic gourmet, it's more than passably entertaining for its nearly two-hours running time.

One of the few actors of Bette Davis' time who could match her screen intensity was Claude Rains. Paul Henreid is paired with Davis as her true love for another convincing romance. But, the script-stealing scene is between Davis and Rains. Matched penultimately perfect for the picture, Davis and Rains match each other's most intense acting skills during a major bedroom blow-out between them. I live to watch that scene over and again for its acting mastery.

Since Deception is about three classical music artists, the classical music score makes Deception's choice script musically enhanced to a classy degree. I love how Rains takes "the 4th Warner Brother's" acting intensity and levels it with his own. Even Bogie couldn't do that when staged with Davis! Don't miss this tightly wound triangulation with Henreid underplaying himself as his role calls for.

I have just finished reading all of the comments here and now let me add my two cents worth. This is my all time favorite Davis opus and it is certainly not because of the high quality of her performance. See Davis at her best in The Letter. What Deception is is a high powered duel between flamboyant personalities (Davis and Rains) wiping their costar (Henreid) right off the screen. The restaurant scene deserves all the mention it got here previously, but how about mink coated Bette confronting Rains in his bed reading Dick Tracy? The screen crackles with vitriol. This is over the top screen acting at it's most enjoyable.If you've never seen this, take the opportunity and enjoy it for what it is: good old fashioned Hollywood entertainment.

Bette Davis believed her true love Paul Henreid was killed in battle. When he returns, their romance is rekindled But during the time he was believed dead, Bette had become involved with composer Claude Rains. Claude's not very happy losing her to Henreid. So Bette must take steps to ensure he doesn't ruin their happiness.

Paul Henreid is the weak link in this dynamic trio of stars. But, to be fair, he doesn't have the juiciest part. Bette is at her soap operatic best here, serving up her role with a hefty side of ham. Claude Rains owns every scene he's in. Like Bette, the man knew his way around a melodramatic role. Unlike Bette (usually), Rains could keep from going over-the-top. He's a better actor, quite frankly. But stars like Bette Davis and Joan Crawford aren't beloved for their realistic acting. People like them for their enjoyable excesses. They were the precursors to the television soap opera stars that would come decades later.

Wonderful sets and costumes, filmed beautifully. Glamorous production from Warner Bros. Loved the Erich Wolfgang Korngold score, as well as the other classical pieces featured. It's a fine melodrama with touches of film noir. Great performances from Davis and Rains. Fans of both will enjoy this one.