Bad Sister

The Bad Sister (1931) features the debut of Bette Davis. While Ms. Davis is given the good sister role with little to do in the movie, Sidney Fox takes the title role. The movie is thoroughly entertaining and showcases some great performances (David Durand and Zasu Pitts). The worse part is the end of the movie. When the climax arises, everything is then resolved in 3 minutes with some sort of Deux Ex Machina. Nevertheless, it is worth watching if only for the early appearences of Bette Davis and Humphrey Bogart.

Pre-Coder about a rotten young woman (Sidney Fox), who's so spoiled and selfish she doesn't care who she steps on, including her own family. It's an unremarkable melodrama about an unlikable character that I wouldn't even have bothered watching were it not for the fact that this is the film debut of Bette Davis. Bette plays Fox's homely but kind sister who's in love with Fox's boyfriend. When Fox dumps him for another man, it opens a door for the beau to look at Bette in a different light.

It's an unimpressive debut for Bette, showing none of her later acting talent or personality. For her part, Sidney Fox does a fine job playing the worst kind of brat. Also featuring Humphrey Bogart in one of his earliest roles, playing -- you guessed it -- a bad guy. The scene stealer of the picture is child actor David Durand as Fox and Davis' younger brother. He freely speaks his mind and has all of the movie's decent lines. The rest of the cast includes ZaSu Pitts, Bert Roach, Slim Summerville, Conrad Nagel, and Charles Winninger. Worth a look for Bette and Bogie completists or anyone who digs these old timey morality plays.

In a length of scarcely over one hour, the first third gives us exposition of rather unremarkable domestic drama, the sort that recalls the description by some of older movies as "simpler entertainment for a simpler time." Even after Humphrey Bogart's character is introduced at right about the one-third mark, the scene writing, dialogue, and narrative development remain so tame and homely that if one weren't careful they might initially miss the genuine plot that starts to show itself. There is, in fact, a compelling story here - but notably, the tone the picture maintains is mostly so "picture perfect," bringing to mind more than anything else the soft touch of family-friendly TV programs in the 1950s, that it continues to feel as if little or nothing is happening at all. That's especially noteworthy since this precedes the heavy-handed Hays Code. Depending on one's perspective this is either a deep failure of the feature, unable to build a meaningful sense of drama, or a marvelously shrewd highlight as the core is underhandedly disguised within family drama. I'm not sure if it's the writers who are most responsible for this tack, adapting Booth Tarkington's novel, or director Hobart Henley - but for my part, I'm pleased to say that I think the approach is a slyly smart one. Given the tenor the film adopts I can appreciate that it won't appeal to all, and I readily admit that I had my doubts at first. In fact, it takes its time, for this declines to really show its hand until we're heading into the last third. Even for all that 'Bad sister' isn't a major must-see, but I'm quite happy with how good it is, and more than first meets the eye.

The predominant surface appearance of homestead turmoil, dynamics and goings-on between members of the Madison household and their friends and neighbors, is suitable material in and of itself for engaging storytelling, if perhaps not the most heavily absorbing variety. That this general melodrama somewhat cloaks the underlying thread of Corliss' dealings, and the ramifications thereof, is a fabulously slick twist of narrative fiction that may not even be possible outside the cinematic medium. Of course the notions are there on paper, but maybe it's director Henley after all who was able to shape the title in such a way as to hide the key element and let it slowly rise to the surface. With this said, I do think there's imbalance in 'Bad sister' as it presents, for in these sixty-odd minutes we get much more exploration of events and reactions in the Madison household than the dalliances of Corliss, or even the strict progression of Marianne's own journey - the character arc after which the movie is named. Moreover, even through to the end there are inclusions that seek to sustain the lighter flavors we got from the outset, and not all the parts fit together equally well. Nonetheless, a complete and cohesive tale is imparted, if with less than full force, and it's arguably maybe even a smidgen darker than some contemporary fare to have come out in the early 30s. I would further posit that the brief ending is a tad too neat and clean, not even taking into account the affirmation of values that ninety years later come across as old-fashioned; still, the plot is strong overall, and more than not this is splendidly enjoyable.

Given how the plot is structured and the sheer number of characters to follow, I don't know that everyone on hand has the same opportunity to shine that they might in other features - not new faces Sidney Fox or Bette Davis, and not even Humphrey Bogart who at this point in his career was merely an up-and-comer. Still, for what material and time they are given, I think all give admirable performances to bring their roles to life. The contributions of those behind the scenes likewise might get lost a bit in the mix, but I'm especially fond of Karl Freund's cinematography, and the sets, costume design, and hair and makeup are all swell. Henley's direction is quite fine too, for that matter. Broadly speaking 'Bad sister' is rather well made, in fact, and the chief question comes down to the strength of the storytelling. On that basis, I'm of the mind that it succeeds much more than not. It's not a picture without its issues, but I believe the saga stands firm on its own merits, and even more to the point, the cleverness of the particular way it's put together helps the whole to stand a little taller. It may not sit well with those who have a harder time abiding older titles, and I begrudge no one who engages honestly and regards it more poorly. All the same, I had mixed expectations and no few reservations even after a fair bit of the runtime had elapsed, and still when all is said and done I walk away satisfied with the excellence of what I've watched. Even if you're a huge fan of someone involved I don't think there's any need to go out of your way for it, but if you do have the chance to check out 'Bad sister' I think this is a swell slice of cinema for a quiet day.

It's easy to call "The Bad Sister" badly dated, because it is. Instead of a timeless piece of Americana based on Booth Tarkington's novel, it's a mediocre, poorly scripted and always obvious romantic drama. Corny is too corny a term to apply, and what we're left with is very fine work by ZaZu Pitts as the comic relief family maid, and Charles Winninger almost holding the creaky plot together as the warm and fuzzy family patriarch.

Casting of Sidney Fox in the title role and Bette Davis as her shy, too good to be true sister is disastrous, as any current viewer via hindsight senses that the roles needed to be reversed, even if it meant halting production midway and reshooting. Bette could have run with the conceited, self-centered "bad girl" role and Sidney would have been just fine in the nothing role of the sister.

Humphrey Bogart is solid as the transparently conniving romantic bad guy and the other supporting male roles are way too wimpy to believe. Every plot twist is beyond predictable, and the ridiculous, rushed happy ending doesn't fit at all. Perhaps that ending was a reshoot -I like to think the original ending would be evil Sidney burnt at the stake.

I enjoyed this movie! It was intriguing to see Bette Davis and Humphrey Bogart 3rd and 4th in the billing order. But what fun to see Bogie as a suave smiling dapper con man who whisks the airhead "bad sister" off her feet. And poor Bette Davis, whom I almost did not recognize in her first scenes in the film. So interesting to see how the costumes helped to create the two sisters characters. Bette Davis in drab prints that made her appear very frumpy. And that younger brother!!! Oh my what a pest!! It really is a complicated story with some sad , some glad, and a bit of silliness here and there. A soap opera in a way, but a also a time capsule of simpler times. I agree with others who said the end comes rather abruptly. I had more ideas of what might have happened if it was longer, so was left feeling a bit unfulfilled. I thought it was well made overall. You can see the remnants of the silent film era in its style with a caption inserted in the middle to help us figure out the plot. And lots of long stares with the eyes expressing so much.