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They said that nobody was better than Bette than when she was bad and in "Jezebel" she is pretty rank, hardly batting an eye as she encourages her suitors to fight duels over her. This is the one in which she wears a red dress to the ball when it was the custom for unmarried young ladies to wear white. Naturally she not only scandalizes the town but loses her uptight fiancée (Henry Fonda, excellent) as well. Of course she redeems herself in the end but it takes a dose of Yellow Fever for her to do it.

It was said she got the part as compensation for losing out on the role of Scarlett O'Hara and to make up for the slight she also got a (richly deserved) second Oscar. She's quite wonderful in the part as is Fay Bainter as her Aunt Belle, (Bainter also won an Oscar), and, as God is my witness, even George Brent is good this time round but then that great actor's director William Wyler was at the helm. It was, of course, a prestige production and John Huston was one of the three credited script writers and if the material was something of a sow's ear Wyler did manage to make a silk purse out of it.

It is 1850's New Orleans, and Julie Marsten (Davis), a head-strong young woman who doesn't find it the least improper to be late for her own engagement party because she feels like riding her horse instead, is getting married to Preston Dillard (Fonda). Unfortunately, Preston isn't at the party because he is hammering out business at his family's bank; when they are married, he and Julie will be moving north, an almost sacrilegious action during this time. Buck Cantrell (George Brent) is Julie's former beau, who remains a family friend and still defends Julie's honor. One day, when Preston doesn't drop everything to attend a dress fitting for Julie that he had originally promised to attend, she defiantly insists that she purchase a red dress, breaking the white dress only tradition for the ball they were attending. Despite the protestations of everyone she knows, including Preston, she wears the dress to the ball, causing her to be ostracized and the official break up of her engagement to Preston when he realizes that he cannot deal with her headstrong attitude. He leaves for the north without her, and comes back a year later with a surprise, and sees that Yellow Fever has gripped New Orleans, a peril that threatens everyone.

"Jezebel" is a tale of defiance, love and redemption. Davis plays her role so well that it is hard to determine whether you want to support her or marginalize her as a spoiled brat. I think that even when the film was made, (1938) the lines were still blurred as to how many freedoms and how much free-thinking should be afforded to women. It is easy for me to say that Julie's red dress was much ado about nothing, but then again, this is the millennium, when nothing is overtly shocking anymore. The mere fact that I thought so much about a classic film (which generally has throwaway plots) is a true testament to Davis' performance and the writing, under William Wyler's direction. "Jezebel" is essentially "Gone with the Wind" without the budget or the color, and was made the year before that film was released. Most of the characters are fairly throwaway, but the subject is Julie, and her development is amazing and very believable, despite the melodramatic genre. This is a film that most classic film lovers have seen, I'm sure (I am apparently a late bloomer in regard to this film) but if you are one and you haven't seen it, or are a Bette Davis fan, see this movie. Most of her late 30's to 1950 films are so spectacular just because of her performance (if the rest is good, it's gravy), and this is one of her best known performances. 7/10 --Shelly

There are lots of cases in classic-era Hollywood where a hit movie has been followed by a lesser copycat from a rival studio. However, the gargantuan and protracted production of David O. Selznick's Gone with the Wind was of such public interest that Warner Brothers could actually pre-emptively get on board the antebellum melodrama bandwagon before it really got going. And thus Jezebel became Warner's 1938 vehicle for its top female star, Bette Davis.

Davis had already won considerable critical and popular acclaim, establishing her type as the archetypal woman scorned. Despite having already won an Oscar for Dangerous in 1935, this is her first really magnificent performance. Her earliest work, while certainly very powerful, was often a little exaggerated and lacking control. In Jezebel however she manages to cram in all that fiery personality, even into tiny details like the way her head bobs as she walks, but with so much more finesse and restraint. The result is very realistic but still utterly engaging. Her lead man Henry Fonda could not match her for experience but he has a decent manly presence that makes him well-cast here. Fine support is given by Fay Bainter, acting like the movie's conscience, numerous reactions playing out on her face. There's also Donald Crisp, struggling with a southern drawl even though he was normally a master at accents, but giving a commanding turn all the same. And finally, watch out for a young(ish) Eddie "Rochester" Anderson.

It's no wonder there is so much top class acting in Jezebel when the director is William Wyler. Wyler, known for his repeated takes and painstaking perfectionism, no doubt had a hand in shaping Davis's sublime performance. But what Wyler also does is actually draw our focus upon the right person and the right facet of their performance for any given moment. Look at the social gathering scene where we first meet Davis and Bainter's characters. Wyler is continually rearranging the players and the camera to frame one face or another. The following scene at the bank's boardroom begins with a fairly standard establishing sweep across the table. Now, remember that Henry Fonda wasn't an especially big star at the time and audiences wouldn't necessarily have picked him out. And yet Wyler makes us realise that he is the one to watch by the way he is staring thoughtfully ahead, the only one whose face we really see full on, the one who stands out even though other characters are talking and nodding their heads. And that's in this innocuous camera move, without any obtrusive close-up or dolly in on Fonda. This is the beauty of Wyler's direction – he makes you notice things without noticing you've noticed them.

And now a few brief words on the Max Steiner musical score. Steiner represented a growing trend in Hollywood of lavish, blaring scores that underlined every single emotion in the picture. His work in particular is rather blunt and even distracting at times. This however is among his more restrained scores, and also happens to be nice and low in the mix. As it's not blasting out over every scene you can actually appreciate just how much complexity and timing there is at work here. Different characters and ideas have their own little leitmotifs. When Davis hears that Pres is returning, their love theme cuts seamlessly into the score on the very instant his name is mentioned. There is even a little peal of bells when she mentions the possibility of marriage. It's still not necessarily the best way of adding music to a motion picture, but one must at least admire the skill and precision that has gone into the score's construction.

Despite the similarities in setting and spitfire heroine, Jezebel is of course very different from its competitor Gone with the Wind in terms of scale. The latter movie, for all its melodramatic roots is a tour de force in lavish historical sweep and epic storytelling. Jezebel by contrast is a firmly small-canvas picture with a rather trite storyline, and the only thing to really keep the viewer hooked throughout is Bette Davis's arresting acting performance. Still, it is far from being some cheap knock-off, and can be considered a light piece of chamber music to Gone with the Wind's orchestral symphony.

The American South has always had an aura of sadness around it. I don't know why exactly. This film tends to reinforce that perception. Characters start off with high hopes for the future, only to succumb to some unfortunate fate, as a direct result of their Southern roots.

In pre-Civil War New Orleans, Julie Marsden (Bette Davis) is a wealthy young woman, engaged to respected banker Preston Dillard (Henry Fonda). But Julie is strong-willed, independent, and impetuous, traits considered unwomanly by that era's Southern aristocracy. Against Preston's wishes, Julie wears a red dress, instead of the customary white, to a gala ball. This event sets up the rest of the story.

While the support cast in "Jezebel" is fine, especially Fay Bainter, the film would not be the same without Bette Davis. I just can't see anyone else in the role of Julie. Davis' performance and the film's setting are what make this film so memorable. The costumes, the production design, the cinematography, and the music combine to convey a genuine sense of the antebellum South, with its stately manners that conceal narrow-mindedness and barbaric "chivalry".

Normally, I don't care for films whose subject matter is long ago history. But "Jezebel" is an exception, because it is so well made. I guess it is the tone of the film that really got my attention. The stately beauty of that time and place masks an underlying sadness, as a prelude to tragedy. Some might call it melodrama. But to me, that's just good drama.

After winning the Oscar for best actress in 1936 for "Dangerous", Bette Davis began to complain that Warner Brothers was not giving her scripts that were worthy of her talent. In 1936, Warner suspended her without pay for turning down a role. She then went to England, in violation of her contract, with the intention of starring in a movie without Warner Brothers' approval. The studio stopped her, telling her that if she didn't work for them she wouldn't work anywhere. In defiance, she sued to break her contract. Although she lost the lawsuit, Warner Brothers began to take her more seriously and even paid her legal expenses. The part in "Jezebel" was thought to be an olive leaf offered by the studio to mollify her.

About that time, Davis made it known that she wanted the lead in David O. Selznick's upcoming production of "Gone With the Wind". She was actually considered for the role, but Warner told Selznick that they wouldn't agree to loan her out unless he also took Errol Flynn for the part of Rhett Butler. Davis refused to work with Flynn and angrily turned down the part, although Selznick did not intend to agree to Flynn regardless. Many believed that Warner Brothers purposely created an impossible deal to punish Davis for the lawsuit while making it appear they were trying to help her. It isn't clear whether "Jezebel" was offered to her before or after the negotiations for GWTW. Clearly, it didn't matter, because Bette Davis went out and gave one of the best performances of her career and won her second Oscar for best actress.

This film is GWTW without Yankees. Instead, the enemy is yellow fever. The story takes place in New Orleans in the 1850's. Although there are references to the abolitionists and the prospect of war, the entire story takes place prewar. This story focuses on the southern lifestyle of the period, and in this way it is very similar to its more famous counterpart. It also follows the life and times of one very spirited woman named Julie Marsden (Bette Davis), who could have been Scarlet O'Hara's soul mate.

Julie shocks New Orleans society when she insolently comes to a ball wearing a red dress when it is the custom for all proper southern girls to wear white. (A production note of interest: The famous "red" dress was actually black satin, which was used because red didn't produce enough contrast in the black and white film, causing it not to stand out enough.) As a result, her beau Preston Dillard (a youthful Henry Fonda) is mortified and he breaks off their engagement. Included in the story are a couple of duels over points of honor, a stark depiction of the yellow fever epidemic, and the noble resurrection of a contrite Julie Marsden upon Preston's return.

As always, director William Wyler (with whom Bette Davis was romantically linked) does a fantastic job at direction, giving the film a genuine southern flavor and period feel. The black and white cinematography in this film is tremendous and procured the film one of its five Oscar nominations.

The acting is superb all around. This is certainly one of Bette Davis' best and most memorable performances and it helped secure her place in movie history as one of Hollywood's greatest stars. Though she never won another Oscar, she went on to be nominated eight more times with five straight nominations between 1939 and 1943. Ironically, in 1940 she lost to the beautiful, and exceptional Vivien Leigh, who won in the role Davis turned down.

Fay Bainter is marvelous as Aunt Belle Bogardus garnering a best supporting actress Oscar. Henry Fonda shows a hint of his future greatness in a fabulous portrayal of Julie's no-nonsense beau. George Brent (with whom Davis also was rumored to have had an affair) also turns in a strong performance as Buck, the honorable gentleman who duels his best friend to defend Julie's honor.

This is a wonderful film with great acting and directing. Though not the epic that GWTW became, it contains certain elements that Selznick undoubtedly incorporated at Tara, since the similarities between the films are striking at times. I rated this film a 10/10. For anyone interested in seeing why Bette Davis is considered one of the great actresses of the Studio era, this film is a must.

10/10

1938 138 minutes CC.