La seduttrice

Most people remember Nicholas Ray for his most famous films, Rebel Without A Cause and Johnny Guitar being the ones most talked about . Born To Be Bad is ensconced in the category reserved for ignored treasures and guilty pleasures, since Director Ray's characteristic "signature" as a director was just as canny in this film as in any of his lesser discussed works, On Dangerous Ground (which also featured Robert Ryan) being another example. This reviewer sees the same sophistication in Born To Be Bad as in another 50s Ray piece, In A Lonely Place; Born To Be Bad is just as cynical in its own way, guised as a superficially lighter "high society" melodrama. Although there are no dark staircases, ominous shadows or oblique camera angles here, Born To Be Bad has subterfuge and alienation at its core in Joan Fontaine's central character, Christabel Caine. The misery depicted here is the type that afflicts the rich and the venal, where wealth, not poverty, is the variable behind their alienation, and their betrayals are carried out in swank apartments and elite mansions instead of typical "noir" territory. The stylistic dimensions of the film aside, Born To Be Bad also features Robert Ryan and Joan Fontaine together romantically. For Ryan devotees searching for the few romantic roles that came his way, they should certainly see the film: the chemistry between Ryan and Fontaine simmers in furtive trysts that were somewhat risque for cinema of that era (a comparable romance between Ryan and a female lead can also be found in the 1952 "noir" masterpiece, Clash By Night). Still available on laserdisc, Born To Be Bad features a crystal clear video transfer worthy of any film buff.

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.

`Born to be Bad' is a great melodrama from 1950 directed by Nicholas Ray and starring the normally genteel Joan Fontaine. In this film however, Fontaine plays Christabel, a young socialite who purports to be an earnest and innocent woman, yet has a pretty insidious duplicitous nature. (Think a slightly less deranged Eve Harrington) Throughout the course of the film, Christabel connives her way into winning the heart of a wealthy man who was previously betrothed to the woman who took her in to her home and introduced her to society as well as love and throw away a famous writer who she seems to actually have feelings for, yet cannot give up the allure of marrying for money.

The great thing about `Born to be Bad' is that no matter what happens to her, Christabel is pretty unrepentant, even up until the very end. This is somewhat varied from the great melodramas of the 30's-50's, where the `evil man/woman' sees the error in their ways, or gets their comeuppance. Nicholas Ray of course went on to direct the classics `Johnny Guitar' and `Rebel Without a Cause', the very model from which teen angst films stemmed, but `Born to be Bad' is a pretty simple film that has a lot of good scene-chewing scenes. I particularly enjoyed watching Fontaine practically get whiplash every time one of her men would grab her and kiss her with fervent passion; it's just that cheesy and good. `Born to be Bad' is another fine example of why the melodramas of this era play so much better than any of that genre today, and even in the last couple of decades – it is intelligent, with a great script and even better acting, and is just simply fun to watch.

--Shelly

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.

Made in 1950, this little gem was no doubt overshadowed by All About Eve (1950), the movie that made Anne Baxter and which also won six Academy Awards. The latter is, of course, a longer and more complex narrative, but both are fine movies. This was Nicholas Ray's sixth directorial effort, after Knock On Any Door (1949), In A Lonely Place (1950) and a few others.

No awards for Born To Be Bad though, but both stories have essentially the same theme: how a scheming woman sets out to get what she wants, and at any cost. Well, that theme has been done many times of course, but this (and Eve) stand out.

The narrative is straightforward: Christabel (Joan Fontaine) arrives on the social scene in San Francisco to make a name for herself. She latches onto Curtis Carey (Zachary Scott), the fiancée of her cousin Donna (Joan Leslie), succeeds in disrupting their marriage plans and then persuades Curtis to marry her. And, all the while she's in love with Nick Bradley (Robert Ryan) who is, in one sense, just as ruthless as she: an ambitious author determined to get recognition. Nick -- poor fool -- loves Christabel but also sees her for what she is. But, as you know, you can't fool all the people all the time; so eventually, Christabel gets her comeuppance for stealing Curtis from Donna while playing around with Nick at the same time...

In and around all of this pot-boiling is Gobby (the always effective Mel Ferrer), the artist who watches the foibles of humankind with cynical, but not unkind, objectivity (the role is, of course, the one that puts the viewer...er...in the picture).

The cast is uniformly excellent, although I have rarely liked Joan Fontaine (her sister, Olivia de Havilland was the better of the two, I think) as an actress. Having said that, I must say, however, that she excels in the role of the scheming femme fatale – she is truly hateful, and does it well. Robert Ryan is always good (at least in the movies of this era) and plays the hungry author like a wolf tearing at lambs; Zachary Scott is well cast as the duped husband. Joan Leslie is adequate but outshone by the duplicity of the role Joan Fontaine played to the hilt.

The most effective actor, however, is Mel Ferrer who verbally jousts with everybody, and delivers some of the most effective lines in the movie – although Robert Ryan has his fair share of wicked one liners also (e.g. in reference to Christabel, Nick muses to himself, "If she played her cards right, she could win me!" Towards the finale, he says to her: "I love you so much I wish I liked you!"). See this movie for the dialog, if nothing else. You won't be disappointed... promise.

So, why didn't this film get the recognition it deserved? Well, it came from RKO studios, which, at that time, was owned by Howard Hughes, a multi-millionaire who wasn't much liked by any of the Hollywood moguls. Hence, at a guess, I'd say favorable distribution and advertising throughout USA was probably lacking...