La grande menzogna

To my mind this film is perfect - a classic example of what the studio system of the golden years of Hollywood could achieve. Strong direction, witty dialogue, beautiful music, sublime cinematography, crisp editing, gorgeous production design and costuming, brilliant performances - every element of this film is perfect.

Add to all that the daring (for its day) story-line, Bette Davis at the height of her dramatic powers and at her most beautiful, and Mary Astor delivering what I think is one of the great screen performances of all time, and you have a very special film indeed.

Although the film may seem to have dated elements, especially in the depiction of the African-American characters, if you let yourself watch the film with 1941 eyes you will be richly rewarded. Besides which the wonderful Hattie McDaniel brings so much depth to what could have been a simple stereotype.

As you can tell, I love this film. I understand Bette Davis and Mary Astor loved working together - and you can see that on the screen. The scenes between the two of them are electric, with so much being said beyond the words. Thank God Astor won an Oscar for her work here. She truly deserved it.

Am a great fan of "classic" film, and films made in "The Golden Age". While George Brent has always been hit and miss for me, Bette Davis has always been wholly deserving of her legendary reputation and director Edmund Goulding directed her to great effect in 'The Old Maid' and 'Dark Victory'. Have liked a good deal of other Mary Astor performances and Hattie McDaniel and Lucile Watson were always watchable regardless of the overall quality of the film.

'The Great Lie' is very impressive in many areas and did find myself liking and enjoying it a lot. Considering what it had going for it, part of me was also a little disappointed and thought that 'The Great Lie' could have been even better than it turned out. Instead of the great film it could easily have been, it was instead good to very good with great elements. It represents Goulding, Davis (do prefer the mentioned films of theirs), composer Max Steiner and especially Astor are well represented. Have seen a lot better from Brent though.

Will agree that the story is often implausible and in particularly credibility-straining parts truly ridiculous and some strands from another happen too fast. As can be the case with melodramas, parts of the script lay it on a little too thick on the soap.

Brent is for my tastes rather bland in a pretty colourless part.

Davis however is great. Not quite one of her finest performances, but she is beautifully retrained while very much engaged with the increasing intensifying drama, as the intensity increases she increasingly pulls out all the stops. McDaniel and Watson shine in support in roles perfect for them and ones they always played very well. Best of all is Astor, who is brilliant. While she was a fine actress, did find myself being amazed at how much ruthlessness and fire she had in her and it was absolutely thrilling to watch. She and Davis are dynamite together. Goulding directs sympathetically while allowing Davis and Astor to have fun without being too laid back about it.

It is a lush-looking film, the photography, the costumes, the sets, all lovely on the eyes. Steiner's score showcases his unmistakable style in a sweeping and dramatic but not too overpowering score beautifully orchestrated. The script is not perfect, but has more than enough wit, poignancy and intensity to spare. While the story could have been better, it wasn't dull at least and the character interaction kept it engrossing.

Overall, good but could have been great. Davis and Astor are the main reasons to see it. 7/10

Bette Davis and Mary Astor take place in one of filmdoms greatest bitch-fests, The sappy sweet Davis and obnoxious concert pianist Astor both love the same man(George Brent). He goes back and forth between them. Slick and soapy, the performances are great and Astor walked away with an Oscar. Great classical score, too.

Though some may say the plot's too far-fetched, I say what Hollywood story isn't, to some extend or another? Even so-called bio pics stretch and bend the truth. Anyway, when you have actors that give great performances, and keep the drama from becoming melodrama, and make the implausible seem plausible, and keep your attention to the end, well, what the heck?

Mary Astor gets to show off her musical talent, as concert pianist Sandra Kovak, who married Peter Van Allen (George Brent) after a drunken whirlwind fling (and while he was rebounding from his breakup with Maggie Petersen, played by Bette Davis), only to discover her divorce from her previous husband wasn't final yet. When Peter's offer to marry her for real (and sober) this time is rejected in favor of her planned concert tour, they break up, and he realizes his heart still belongs to Maggie. Soon, they're back together and married, but they haven't heard the last of Sandra.

There's a lot of soap opera elements here: a baby, a presumed death, a bargain, a lie, a threat, a confession, and a lot of entertainment.

And as a bonus, there's Hattie McDaniel as Violet.

This is also the movie that gave rise to the idea that Bette spoke a ridiculous line, where she repeated the name "Peter, Peter, Peter!" Actually, she said the name "Pete" twice, while thinking wistfully of her husband. And it was spoken with melancholy, not in rapid-fire succession, like a stuck record needle.

For that alone, the film's worth watching, though the story will keep you entertained.

The Great Lie (1941)

This is really a fabulous mixture of great movie themes, and it pulls it together to make its own amazing statement about fidelity and love. And class. And pre-war America, seemingly isolated but actually trapped by world events.

Within ten minutes there is first an echo of My Man Godfrey (George Brent in this case making a more mainstream Powell) and then a swoop down for a taste of Gone with the Wind or even closer, Jezebel (the plantation south, even though it's 1940 or so). Then it's a melodrama straight up, and tragedy, and even if the plot is improbable, you go with it and get swept away.

Brent plays Pete, a man caught between two women, both of money, but one cosmopolitan and used to being in charge, and one a lively, warm woman living a more earthy life. At the start it seems Pete is married to the urbane one, a concert pianist, Sandra, played with typical poise and ice by Mary Astor (compare this to her more famous role in The Maltese Falcon from the same year). She's a professional woman, in charge of her life, and, lately, Pete's. She wants independence and culture, and man with his feet on the ground.

But Brent's country girl, an ex-love (and true love, it seems) Maggie is played to perfection by Bette Davis. The music here, and the support cast is African American, which makes for a more heart warming, and wrenching, background. He pays a visit to Maggie the day after his wedding (for reasons that slowly clarify) and the dynamic is set. And the twists begin. We have a contemporary drama between recognizable stereotypes as World War II looms for the U.S.

Early on, Sandra asks Pete after his visit to Maggie, "Did you get it?" He says, "What?" Sexual innuendo intact, the Hays code chaffing, she clarifies, "The air?" What a great simple example of how movies so often played brilliantly with innuendo because the code wouldn't allow a straighter interplay.

Director Edmund Goulding is not as well known as some of his contemporaries, but he has a few masterpieces in his lot, including the Bette Davis Dark Victory and the later Razor's Edge. For me, The Great Lie is maybe short of perfect--the plot does intrude on our sense of suspending disbelief--but it's really fast, moving, well written, and well directed. No question.