Tramonto

"Dark Victory" features a superb performance by Bette Davis, portraying Judy Traherne, a socialite struggling to come to terms with terminal brain cancer, a diagnosis that ironically brings her the greatest joy of her life, as she falls in love with and marries the doctor who diagnosed her, also superbly played by George Brent.

There's nothing really to dislike in this movie. The basic point is simple to figure out: whatever darkness you may face, make the best of it and live life to the fullest, because even in darkness there may be victory. The supporting cast is tremendous, particularly Geraldine Fitzgerald as Ann King, Judy's friend and assistant who helps her through this bewildering time of conflicting emotions. The movie is not exactly filled with suspense and there's no dramatic death scene, but the emotion is raw all the way through, and the sympathy the viewer feels for this couple who are so much in love but have so little time to enjoy it is very real.

This is very well done, and well worth a look see. I would rate it as a 7/10.

You've been feeling somewhat ill, and just not with it, your vision gets quite blurred, but you admit it, so it's off to see the doc, though you're in for quite a shock, an operation is required to get you fit. You start to mend, but there's something new you feel, seems you've fallen for the man who's made you heal, emotions at a high, but there are things you've been denied, then indiscretion leads you to a big reveal.

There's some racy dialogue to contend with, but the performances of both Bette Davis and George Brent are divine, in what is not your typical boy meets girl story of the time. You also get the added bonus of Humphry Bogart, although his Irish brogue would never earn him any rewards, and a future President provides some small support.

A film of its time but plenty to enjoy still today.

This is definitely a tear-jerker involving a young socialite Judith Traherne, (Betty Davis) who is full of life and an only child who gets her own way all the time, but is well liked by everyone. Judith loves horses and enjoys riding them and performing with them in various horse shows. The trainer of these horses is Michael O'Leary, (Humphrey Bogart) who loves his work and likes Judith because of her love for animals. One day Judith is riding her horse and her vision becomes blurred and she sees double and falls off the horse. It seems Judy is having bad headaches but does not mention it to anyone and her own doctor refers her to a Dr. Frederick Steele, (George Brent) who is a brain surgeon. Ronald Reagan appears in this film as a playboy drunk who is always drinking. Great performance by all the actors, but bring the tissue box, you will need it.

Bette Davis always cited this as her favourite role: it is probably on a par with Margo Channing in ALL ABOUT EVE as the part which fans identify with as definitive Davis. Naturally, this 1939 film will look a little musty, corny and cliched to modern day viewers, but the poignant sincerity in which Davis instilled via her magnificent performance still has the ability to leave the viewer in helpless tears: you can be dumbfounded to think that something so obviously aimed at your tear ducts could succeed to induce the flow so completely and spontaneously! The role is based upon a 1934 play in which Tallulah Bankhead flopped. The character of Ann King was written especially for the film by director Edmund Goulding: as a kind of Greek Chorus so Judith wouldn't have to complain about the inevitable. Geraldine Fitzgerald, in her American film debut, does a wondrous job with the part of Ann: a beautifully etched supporting performance. As Michael O'Leary, Humphrey Bogart is unfortunately inept in the Irish brogue department (why couldn't they have simply cut out the accent?) and George Brent is adequately wooden as Dr. Frederick Steele whom Judy marries. Davis slams through a gooey collection of cliches in her nerviest style during the early segments but her metamorphasis into a vibrantly humbled married woman is quite a striking contrast to the selfishly brazen spoiled heiress: truly a multi-faceted performance. Ronald Reagan gets to play Alec, one of Judy's drunken swains, and Cora Witherspoon is memorable as the snotty Carrie. The last twenty minutes of the film are expertly crafted and timelessly tear-jerking: the movie sold more kleenex than any other of its day.

By today's standards, "Dark Victory" might seem cliched. Of course, that could be because it was so greatly copied! Here is Bette Davis, a star in the fullness of her talent and ability. Bette simply shines; she owns this film from first frame to last. Ably supported by a wonderful cast (including a somewhat mis-matched Humphrey Bogart as an Irish-brogued horse trainer), it is still difficult to watch the film and not be constantly anticipating Bette's appearance in any scene she isn't in. The ending, even in those days, might have turned out either wimpy or waspish. In Bette's hands, it is neither. It works in a way that literally drains one of emotions. I might also add that, while revealing only a bare back, Bette shows more sensuality than a dozen of today's more "open" actresses.

There is an old disparaging adage about "showing the full gamut from a to b," in this movie Bette not only shows A to Z, but some letters that haven't been invented yet.

Despite my gushing over Ms. Davis, the film is solid in all departments. If you wish to experience when melodrama is great movie-making, see this film.