La seduttrice

Unscrupulous Christabel uses her wiles to break up her cousin's engagement to a wealthy man so she can marry him herself.

Considering the talent involved, the movie's a disappointment. The plot turns on the scheming Christabel and her ability to attract men. The trouble is Fontaine looks more like a wallflower than a temptress since neither costuming nor make-up has done her rather plain looks any favors. Thus, having her out-compete the vibrant, young Donna (Leslie) for Curtis's (Scott) affections, becomes a real stretch. Then too, Fontaine underplays the role, perhaps to a fault, such that it can't be her winning personality that gets the men. So what we're left with in the movie's middle is a credibility gap where there should be a compelling presence.

At the same time, the results suggest any one of a hundred Hollywood directors could have helmed the workman-like production. Looks to me like cult director Ray found nothing to engage his formidable talents and simply went through the motions. I suspect he took the script on assignment, viewing the project mainly as a vehicle for its celebrity-star.

On the other hand, is the colorful array of male cast members— a commanding Robert Ryan, a shrewd Mel Ferrer, and a sympathetic Zachary Scott (for once). In fact, Ryan's dark features and towering masculinity as Nick almost blot out Fontaine's recessive presence in their scenes together. As Christabel's secret lover, he's totally believable even when she isn't. Add to them, the lovely young Leslie, who shows an impressive range as both trusting soul and wronged woman, and the movie does have its compensations, including a well-calculated ending.

Nonetheless, the film as a whole fails to gel, suggesting that Fontaine the actress is much better at playing the innocent rather than the wanton.

Director Nicholas Ray managed to take his revenge on RKO's Howard Hughes with this real life "Citizen Kane". Hughes was obsessively pursuing Joan Fontaine whose post WWII career was going nowhere. Like Hearst's intervention in Marion Davies' career, Hughes got Fontaine the lead in Ray's "Born To Be Bad" and then meddled in the production to insure that the film became a promotional vehicle for her.

Whatever Ray may have thought of this it was not a complete disaster. Although the 32 year- old Fontaine is not credible in the role of a young business school student, if you suspend disbelief about the age factor, her performance is the equal of Anne Baxter's in "All About Eve". The same thing could be said of Davies; while her career was mismanaged by Hearst's inappropriate casting, her talent was still able to shine through.

Although not given final cut, Ray somehow was able to turn "Born To Be Bad" into a self- parodying melodrama that reflected much of the Hughes-Fontaine relationship. Even making Fontaine's mark (wealthy Curtis Carey-played by Zachary Scott) into a Hughes look- alike, complete with pencil mustache and a passion for flying.

Unlike Orsen Welles, Ray made a lot of women's pictures, a quality "Citizen Kane" does not share with "Born To Be Bad". Fontaine plays master manipulator Christabel Caine (not Kane), not quite a sociopath but a woman with little sign of a conscience. Unlike most of these women's pictures, it is the men who she has trouble fooling with her innocent act. Cunning gay artist Gobby (Mel Ferrer)) finds her a kindred spirit and novelist Nick (Robert Ryan) is turned on by her greed and lack of moral/ethical boundaries.

Ray has Fontaine play the character in a nice self-parodying style that actually makes her somewhat sympathetic to the viewer, at least for those who can take a guilty pleasure watching her turn on the charm. Unlike her sister, the eternally earthy Olivia deHavilland, age made Fontaine brittle and well suited to villainess roles. With cute little smiles and feigned reaction shots Fontaine keeps the film vicious for its entire length.

Like Ray's "Johnny Guitar", this is a film about two women, one good and one bad (there is no subtlety), who vie for the same man. It is a battle of Joans, as Donna is played by gorgeous Joan Leslie ("Sgt. York"). Donna is a publishing house editor, postwar America was still adjusting to the vocational progress women had made during the war. But the evil Christabel explicitly rejects career opportunities (one can't imagine her contributing to the war effort) in favor of setting herself up for life by landing a rich husband she can set up for a lucrative divorce settlement.

Leslie and Ferrer are especially good in the film. Leslie gives the only restrained performance, which is more powerful because it contrasts so sharply with the overplayed performances Ray gets from the rest of his cast.

Then again, what do I know? I'm only a child.

If you've enjoyed Joan Fontaine's endearing performances in REBECCA or SUSPICION, check out this movie for an entirely different turn of character.

Joan plays Christabel, a woman with nice curves who's got all the angles, too. She's a classic manipulator, and the fun of the movie is watching her try to keep up her false appearances as she runs recklessly through the lives around her -- society friends, sick relatives, a thin-mustached rich playboy, and the rugged novelist guy who sees through her and loves her still.

The performance is one of shifting eyes, deceptive wheels turning inside the lovely Christabel's head, trying to recall which lie she told to whom. Fontaine retains a sense of mystery about her, because you keep wondering to what end is all this manipulation, anyway -- does Christabel even know? A consummate liar, she also remains a bit sympathetic through it all: you get the sense of someone who has played so many contradictory roles that she's kind of a lost soul.

As for the story itself, it's pretty good; and the supporting characters are merely okay. But really, they're just pins set up for Christabel to upset. Sit back and watch her go.

So, if you're like me and wanted to reach out and protect Joan in her Hitchcock movies, try BORN TO BE BAD. She's just as lovely (those doe-eyes will make you want to believe her) -- only hold onto your heart, and your wallet.

After years of watching films and studying their art for my own pleasure, I've decided that some of the most interesting and least appreciated movies are those released under the RKO logo. Born to be Bad is a prime example. Made in 1948-49 (not released until '50) under the aegis of Howard Hughes while he was alternately pursuing and manipulating Joan Fontaine, this movie has a unique, non -studio look. Very little location work was done, but doesn't it feel like San Francisco (more than Vertigo!). Literate script, intelligent casting, stylish sets and costumes (New York designer Hattie Carnegie for Fontaine, RKO in-house man Michael Woulfe for Joan Leslie) add up to an engrossing, adult 90 minutes. Speaking of adult; there's been some comments here about the Mel Ferrer character: "Is he or isn't he gay?" IS THERE ANY DOUBT? And check out one scene, unbelievably adult for 1950 Hollywood: When Fontaine returns home after a torrid sexual encounter with Robert Ryan, she quickly takes a hot bath before husband Zachary Scott returns home. Scent of another man? Pretty hot stuff in retrospect. Check this movie out when you get the opportunity!

Nicholas Ray's career remains unique in its peaks and valleys, but his work has never been dull. Even A WOMAN'S SECRET stirs memories, notably from the performance of his then-wife Gloria Grahame. BORN TO BE BAD is an "almost" -- its depiction of the New York theatrical lifestyle on on-target, down to the living quarters. And its characters ring true. Still, the plot, if taken apart, is a muddle in the middle. Nonetheless, Ray has provided strong mise en scene, and offered an underrated star like JOAN LESLIE an opportunity to show how truthful and relaxed a performer she was. Her performance is almost equalled by that of MEL FERRER as the "probably-gay" character. In her role, JOAN FONTAINE, an excellent actress, is able to convey the seven-faced facets of a woman who misuses friendships, romance, and opportunity... all for her benefit. ROBERT RYAN, as ever, offers a solid performance though his character is far less defined. and ZACHARY SCOTT does well too. Ray's use of camera angles, lighting, etal. may seem commonplace, but there is careful use of everything involved. But what is remembered, when all is said and done, is the work of JOAN LESLIE as the put-upon fiance. It is performances like hers that are ignored... but that are enormously difficult to bring across accurately. Hers is the pilot light that keeps BORN TO BE BAD intriguing.