Peccato

Is BEYOND THE FOREST an overripe and over-the-top potboiler or a potent, underrated film noir? Both, actually, with an emphasis on the latter. This is film noir's MADAME BOVARY wherein a provincial housewife's romantic fantasies and big city dreams bring tragedy to everyone in her orbit and it's the "twisted sister" of Vincente Minnelli's ode to Flaubert's driven, deluded anti-heroine, released the same year. Nineteen forty-nine was the year of the desperate housewife in Hollywood- in addition to Bette Davis & Jennifer Jones, there's also Audrey Totter in TENSION and Lizabeth Scott in TOO LATE FOR TEARS, postwar noir women who "expect and demand a better life and plan to achieve it by any means necessary".

Forty year-old Bette Davis "with her low-cut peasant blouses, long black wig, and carmine lips" is unquestionably miscast but, like the film itself, that actually works in a perverted sort of way. If Virginia Mayo had been cast (Davis actually lobbied for her), it would have begged the question, "why doesn't this beautiful girl just hop a bus to New York or Hollywood or something?" but with a not-so-young-anymore Rosa -out of options and rapidly running out of time- there's a palpable sense of entrapment as the irrational resentments that have simmered for far too long are ready to erupt. Still, the movie also has its amusing aspects and you can't help but smile as Rosa sashays down the street and all the men stop and stare. How could a past-her-prime, dimestore siren like that keep Joseph Cotten and David Brian in such thrall? Why, sex of course. Rosa no doubt did things in bed they couldn't get enough of, much like the hold Wallis Simpson had over the Duke of Windsor. The crime of Rosa Moline was similar to that of Phyllis Hochen in THE UNHOLY WIFE (desperate for a way out, she ends up shooting her husband's best friend) and from the overblown opening prologue scroll to the mounting hysteria and rampant symbols of Hell that culminate in a "shocking conclusion", Vidor's "Bovary" casts a spell as well. Written off as a "camp classic" for years, BEYOND THE FOREST has been reassessed of late:

Bette Davis tires of life married to a small-town doctor, so she takes off to Chicago for an affair, hopping the most monstrously phallic train in film history. Her frenzied performance is met on the other side of the camera by director King Vidor, who matches her excesses shot for shot. The "What a dump!" line quoted in WHO'S AFRAID OF VIRGINIA WOOLF? originates here, though it's actually one of the film's more naturalistic moments. Much of Vidor's late work flirts dangerously with camp; this 1949 effort, I'm afraid, frequently succumbs, though it has a weird kind of power and integrity. With Joseph Cotten and David Brian. -Dave Kehr

BEYOND THE FOREST, with its main character's dissatisfaction with small- town middle-class morality, its big-city expressionistic mise-en-scène, and Davis, with the most extreme portrayal of a malignant bitch of the forties, we have a work that is firmly rooted in the tradition of film noir...this paean to amour fou is one of the most operatic of all films noirs -at once both moralistic and obdurate, grandly emotive, overbearing, and magnificent. -The American Film Noir

A TV perennial back in the day, legal hassles prevent King VIdor's unsung noir from being shown today. As of this writing, it's not in the Warner Archives and TCM hasn't aired it in well over a decade. That's a shame.

It was interesting seeing this soon after seeing The Man Who Wasn't There, the Coen brothers would-be 40s film-noir. Both movies are set in small towns, have way-out plots involving violent crime and illicit love, and feature main protagonists trying to get out of a rut. But whereas the Coens' nouveau-noir plays it deadpan, philosophical and slow, and thereby risks boring the audience stiff; the genuine article with King Vidor at the helm, races along, goes way over the top, and glues the viewer to the screen.

Melodramatic and flawed though it may be, I don't go along with those who regard the movie merely as a camp vehicle for some arch Bette Davis overacting as the "evil" Rosa Moline. This film has genuine substance and potency, and Hedda Gabler-like Rosa's near-hysterical exasperation with the suffocating small town atmosphere - symbolised by the ever-present smoke and dust from the local sawmill - and with her dull, worthy, medico husband (Joseph Cotton), must have rung a bell with many American and other women in the stifling post-war years. Her "What a dump!" quite probably echoed their inner thoughts, as may her reluctance to have a baby (contrasted in the film with another woman's eighth, delivered by the good doctor). Moreover, despite Davis playing a woman at least 10 years younger than her actual age, her scenes with David Brian as her wealthy lover are truly erotic, and some of the lines may raise eyebrows even today.

Those who dismiss this film should perhaps give it another chance, try to place it in the context of its era, and possibly ponder on how some of the "cool" masterpieces of today will be viewed by their grandchildren in 50 years time.

Bette Davis gave many great performances, but she did not make many great films or work with many truly great directors (with the exception of William Wyler & Joseph L. Mankiewicz). King Vidor ranks as one of Bette Davis' greatest directors and Beyond the Forest is her most underrated film (another underrated film is The Private Lives of Elizabeth & Essex, directed by the superb technician Michael Curtiz). The eminent film critic Pauline Kael wrote that "there's not a sane dull scene in this peerless piece of camp." And I agree that this film is never boring. It has elements of film noir, melodrama, comedy and stands the test of time, as it is not sentimental like so many of Bette's soap operas (The Great Lie is a great bore). I challenge anyone to watch this film and be bored by it. Impossible. It starts off slowly, but after the first 20 minutes, it is compulsively watchable: a hoot! And although Bette in her later years said she "loathed" this film, it is clear that she relished the part of Rosa Moline and was living the part as she played it. She poured into the part all of the frustration & fury with Jack Warner and the studio for giving her bad roles & bad scripts, her own fears of aging after she had her baby and she was no longer box office, and all the emotional turmoil (both the sexual electricity & the physical & verbal abuse) of her marriage to William Grant Sherry. Ruth Roman (who played a small role in this film) said that she watched Bette on set and it was all too REAL for her that she was terrified of Bette. And indeed, this is one of Bette's most real performances, however over the top it may be. Rosa Moline is a precursor to Margo Channing in All About Eve, yet I find Beyond the Forest more interesting because King Vidor is more of a stylist than Joseph L. Mankiewicz. All About Eve is theatrical, not cinematic; Beyond the Forest is pure cinema. Savor every frame of this fading femme fatale in this film noir farce. You will laugh at Rosa, be moved by her, feel sorry for her, but ultimately admire her for her courage, pride & determination. She was just a dame who was trying to get out of her own personal prison & hell.

Beyond the Forest is directed by King Vidor and written by Lenore J. Coffee and Stuart Engstrand. It stars Bette Davis, Joseph Cotton, David Brian, Ruth Roman, Minor Watson and Regis Toomey. Music is by Max Steiner and cinematography by Robert Burks.

Resentful of her small-town life, Rosa Moline (Davis), a married woman, schemes to run off with a rich businessman - and she will do anything to achieve her goals...

Whilst not being on the same divisive page as something like Johnny Guitar, King Vidor's picture treads the same pathway to claims of camp and feverish staging. Davis is clearly miscast and too old for the role, whilst she overacts accordingly to either delight her fans - or irritate film fans after a noirish pot boiler of some substance. It's a tough call, and you really have to point the finger at Vidor for not reining Davis in, but if in the zone for a bit of Bovary histrionics tinged with noir flavours this has much to offer.

The pros and cons of small town Americana are vividly brought to life here, as is the central focus of a woman out of her dreams. Metaphors are rife to run in conjunction with the psychological imbalance of Rosa's mind, be it the mill furnace that lights up the sky at frequent intervals, or the steam locomotive that thunders through the centre of town to take folk off to the big city of Chicago, the aural smarts are superbly inserted by Vidor.

Using flashback as a starting point, Vidor firmly enters a noir realm, which continues throughout as he is aided considerably by Burks' photography. One of Hitchcock's main cinematographers of choice, it's a real pity that Burks didn't get hired for more noir ventures in the 50s. His work here is superb, low lights and side lights come to the fore in the final third as the femme fatale axis of story reaches a potent finale. Thus as Steiner rumbles away with his shock and awe, the pic is a tech credit force.

Sadly there's some fault lines to be irked by. Roman is utterly wasted in a pointless role, there's a Native American house maid character (Donna Drake) that's the focus of some unsensitive era treatments that's sole purpose seems to be just to make Rosa out as more of a git than already established. While Toomey and Watson (the latter a key character) are badly under used.

However, whilst not jumping on the "it's a masterpiece" bandwagon, this is a film of many filmic pleasures - perversely so me thinks... 7/10

Many have blasted this film as pure camp, some without having even seen it, I'm sure. While this is no masterpiece, it really isn't that bad--it plays for the most part like a standard noirish "woman's film" from the forties. Since this sort of thing was Davis' specialty, she isn't particularly out of place here. Some of the dialog is dated and over the top, but not nearly so much as this film's detractors would have one believe. What truly stays in the mind is Bette's awful appearance--she's obviously too old to play the part of the small town sexpot, Rosa Moline. Beyond that, she's made to wear some awful black fright wig that makes her prematurely saggy face look positively witch like! As a romantic interest, she stretches our sense of credibility (however, I will allow for the fact that black Maria Montez type hair was probably thought sexy in those days-and she does grasp a sense of how a faded small town belle might try to put herself across, as she swaggers around with false bravado in her tight dresses and sexy ---- me shoes. All in all, not as bad as they say--the whole project probably shocked Davis herself (as well as quite a few critics who generally not kind to it) into realizing that her leading lady days were numbered. A strange career move in the lengthly career of a great, if misunderstood star.