Schiavo d'amore

I just saw "Of Human Bondage" for the first time a few days ago and WOW! What a mysterious and almost spooky film. I loved how the music went with the pace of each step of Philip's feet. It gave me the chills for some reason...

One of the greatest aspects of this film is that you get to see Bette Davis coming into herself right before your eyes. She's great, not necessarily because this is her best work, but because it was so out of the ordinary to be so vicious, gritty, and unflinching as an actress in 1934... Bette was a risk taker, always wanting to be different and this is right about when she started to realize that she could be as nasty and daring as she wanted and people would love her for it. If you're a true lover of film, it's amazing to see...

She just had a way of delivering a line that made the part, and the film for that matter, belong to her. Like "A mass of music and fire. That's me...an old kazoo and some sparklers" or "But you are Blanche, you are in that chair!" or "WITH ALL MY HEART, I STILL LOVE THE MAN I KILLED!!"... Those are from a few of her films, but you get my drift. She was just so brave, sassy, and exotic looking with those beautiful big eyes. After seeing this, I can't believe it was remade twice...

Leslie Howard was gorgeous...so calm and persistent, needing to be loved. I thought he was adorable and couldn't understand how everyone wasn't falling for him, but then again, everyone was...except Mildred. He did a great job...

The only thing that I didn't like was something that was common with the writing in the early films. They'd make a character so hateful that it's almost unbelievable that someone would actually fall for them in the first place. The performances were great, but in real life, Philip would have never been interested in Mildred. That's just the simple truth... See it!!

Bette Davis became a star with her role in this first and best film adaptation of the Somerset Maugham novel of the same name (well worth a read). This was her first nomination for an Academy Award, for her portrayal of Mildred Rogers; a tawdry, sluttish, cockney waitress who bewitches hapless Philip Carey (Leslie Howard, best known for his role as Ashley Wilkes in "Gone With the Wind"). She lost the award, receiving it for her role the following year for "Dangerous", which is generally viewed as a consolation prize.

The supporting cast includes Reginald Denny, Alan Hale Sr. (father of Alan Hale Jr., who was the skipper on the TV series "Gilligan's Isle"), and a breathtakingly beautiful Frances Dee.

The film starts out with Philip, a failed art student with a clubfoot of which he is highly sensitive, turning to the study of medicine after facing the fact that he has no artistic talent. Shortly thereafter he meets and quickly becomes obsessed with Mildred, despite her sneering and obvious disdain for him because of his deformity. Her standard response to his affectionate overtures is a chilly "I don't mind." In his dreams Mildred is sweet and kind to him; during real time she uses him, well aware of his affection for her, leaving him for other men and returning when she is down on her luck, ruining his chance for having a career or a normal life with another woman; he seems to continually finds himself inexorably drawn to her, even after his love for her has waned, until the day she finally pushes him too far.

At that point, the camera fully turns to Mildred as her facial expression shifts from supplication to shock to full-on bitch in a matter of seconds, and she reacts to Philip's statement with a barrage of blood-curdling insults. Bette Davis as Mildred never fails to raise the hair on the back of my neck and arms with her performance in this particular scene.

This is the role that made Davis a star. It's also one of my all-time favorite Davis films, along with such others as "The Little Foxes", "The Letter", and "All About Eve".

Coming shortly before the imposition of a morality code darkened the spirits of writers, directors and actors, the first film adaptation of W. Somerset Maugham's "Of Human Bondage" titillated countless moviegoers. It has no shock value today, just fine acting.

While the cast is excellent, this is Bette Davis's first great role and one of Leslie Howard's best performances. Howard is English wannabe Parisian artist Philip Carey who is gently and firmly told that he lacks any talent and that his dedication is no substitute for true genius. Taking the lesson to heart he returns to London and enrolls in a medical college (one, by the way, that seems to have no female students-at that time there would have been at least a few. Perhaps author/physician Maugham didn't care for distaff medicos).

Having tea one day Carey is entranced by a waitress, Mildred Rogers, Bette Davis in a role as a morally loose and basically wicked farrago. Her Cockney accent is as sharp as Eliza Doolittle's. His repeated attempts to date her are greeted with the less than enthusiastic reply, "I don't mind," a sure sign for any man with his head screwed on straight that he's plumbing the depths. Maugham's Mildred supplemented her waitress tips with a bit of old fashioned street-walking, something not clearly brought out here.

Carey's besotted prostration serves Rogers' avaricious need for support of the financial kind. He is desperately in love with her-she plays him as a Sunday church organist effortlessly plies her instrument. No sex here. Recognizing that he is getting nowhere, he begins a chaste relationship with Norah, a woman who adores him. Re-enter Mildred, replete with a baby, and in her usual need of being taken care of. Exit heartbroken Norah.

Another separation from Mildred and Carey begins a long-term friendship with Sally, abetted enthusiastically by her dad who seems to view eventual marriage as both a good thing for the two young people and a chance to be relieved of one of his nine offspring.

The movie reasonably but not entirely follows Maugham's excellent novel. Howard's Carey is naive and vulnerable and for much of the movie his sad eyes remind one of a doe facing a double-barreled shotgun. Mildred is unrestrainedly wicked, a user of the worst kind, her sole preoccupation with her own needs barely disguised when she tries to wheedle Carey with a thin patina of affectionate words (and offers-at one point she promises she'll do "anything [he] wants," a daring statement for the times and one I'm sure audiences fully understood.

Pre-Code it may be but Mildred's quick-march dissolution would have satisfied the League of Catholic Decency. The ending is conventional-sin loses, principled behavior triumphs.

Director John Cromwell wrought excellent performances from his two main stars, one well-established, the other established largely because of this film. The atmosphere is 1930s London and the trip back in time is worth taking.

Available on DVD.

9/10 (for Davis's and Howard's performances)

After laboring in Hollywood for nearly four years, playing one nothing role after the other in one forgettabe film after the other, Davis won the role of a lifetime. That of slatternly waitress Mildred Rogers, the 'bitch' heroine of Somerset Maugham's classic story. Davis in BONDAGE is an example of an actress's triumph. Lester Cohen's script, making for a picture that runs in length 83 minutes, is breezy and admittedly fails to capture all of the qualities that made Maugham's book such a compulsive read. But Bette Davis' performance in BONDAGE makes the film every bit as good as the book itself. She is absolutely fascinating. Her role of Mildred is as spiteful and bitchy as they come. Yet Bette plays the part so well that you can't help but root for her. That's not to say that she doesn't overdo it at times. But she is clearly into the role and rightfully so. Having played so many thankless background parts(secretaries, gun molls, etc.), this was her chance to break loose and show critics and audiences alike her full capabilities as an actress, and did she ever! Even keeping in mind all of the memorable Davis movie moments that followed, Mildred Rogers still remains her most stunning achievement. The great British actor Leslie Howard, playing the club-footed medical student who becomes infatuated with Mildred, seems over-powered, and possibly intimidated by his co-star. Oh yes, Davis was not yet a full-fledged star and was supposed to be playing second fiddle to the already distinguished Howard, but with BONDAGE, that situation quickly reversed. Shockingly, Davis didn't receive so much as an Oscar nomination for her brilliant performance, and when she won a year later for the tired melodrama DANGEROUS, everyone(including Bette herself) assumed it was out of sympathy for not receiving her full due for this film.

A good, historical movie for the Bette Davis fan in that this is the first movie where she was noticed, based on her merits as an actress. This was a role that was offered to others, but "others" thought that playing such an evil "belladonna" role would harm their career. Bette never flinched from playing the "bitch" and it helped push her career forward. Bette does a good job in this story of an evil woman and the man who just won't/can't let her go. As another writer here has stated, this should be required viewing by young men. The scary thing is, there truly ARE such women out there. A cautionary tale that delivers..