Vaidosa

This truly lavish melodrama really knocked me out. I simply did not find any significant weaknesses to this film, at least none of which others have alluded. Films of this type can easily become maudlin, insignificant, and flat. However, "Mr. Skeffington" is the result of a set of elements that are incorporated vibrantly. The film simply has a grand sweep to it, lifting it high above many others of this genre.

The staging and sets (in conjunction with Ory-Kelly's costumes) are as good as any movie that I've seen, along the lines of "Gone With the Wind", "Citizen Kane", "Gigi", or "Long Day's Journey into Night". The use of silence and spaciousness, along with noise and density, is brilliantly carried out and is extremely well-balanced by the characters' non-verbal responses to each other. It's hard to describe without providing details of given scenes - I would suggest that you watch it with this perspective and see what you think.

Speaking of scenes, length is the common enemy of films of this type, but not here - each scene plays out like a shining entity that still provides momentum and underpinning for the entire story. I counted at least 12 very memorable scenes. Humor is added strategically to most scenes to balance the starkness of the story and is nicely understated to avoid a sense of camp. Director Vincent Sherman has polished each scene like a diamond, and the effect is very powerful. The scenes really do stand on their own almost like a set of montages.

Bette Davis' performance is decidedly affected as she plays Fanny as a young girl, but the pure talent and visual power of this actress makes one believe that she is truly the beauty that she is supposed to be. Notice how her movements and responsiveness reinforce the sense of someone almost 15 years younger than herself. While others have complained about the makeup of the older Fanny in portraying her change in age, I found that the makeup perfectly embodied the older Fanny because Davis plays the character so consistently to her advanced age. I would place this performance in Bette Davis' top tier, along with "Now, Voyager", "The Little Foxes", and "All About Eve".

Claude Rains plays the title character with restraint, integrity, and great love for Fanny, but the sense of pathos that he communicates really helps to give the movie a lot of power. The other acting performances are uniformly excellent, particularly Walter Abel as Cousin George. Without the strength of Abel's characterization, this would have been a far weaker movie.

Franz Waxman's score has been criticized by some as being extravagant and overly dramatic to the point of being startling. I really enjoyed it - Waxman incorporates a lush late romantic style that has a stronger "classical-music" feel than other scores for movies of this type, which tend to emphasize strings as accompaniment. The result is a feeling of complexity which shades the story along with the other elements.

This is easily Vincent Sherman's best work, one of Ernest Haller's best, and one of the best melodramas that I have seen. 10 out of 10.

"Mr. Skeffington" is one of the great Hollywood melodramas. Bette Davis has the showy role in this epic story of a troubled relationship, but it's Claude Rains as her Jewish husband who jerks the tears. Bette is all mannerisms and makeup - and there's nothing wrong with that! - but Rains gives a subtle, weighty performance that anchors the movie.

This is Warner Brothers at its most elegant. The Franz Waxman score is superb and the way he punctuates Bette's eye-blinking is hilarious.

The magnificent singer/actress Dolores Gray made her first film appearance in this film as a 1920s speakeasy chanteuse. Bette acknowledges what a beautiful voice she has in a moment that hasn't really anything to do with the scene, but the divine Dolores deserves the comment. In case you don't know who she is, check out her own film career 10 years later in her MGM films such as "It's Always Fair Weather."

Bette's aging makeup presages her work in "Whatever Happened to Baby Jane?"

You won't want to miss "Mr. Skeffington." Bette's flamboyance and Rains' gravitas make this film totally enjoyable.

... That would be Fanny Trellis, later Skeffington. She has all of these male admirers and yet she can't seem to talk about anything more interesting than her manicure. I mean, her looks won't last forever, right? Right. That is what this film is all about. Fanny has a brother, Trippy, that bests her in the "waste of flesh" department. He spends all of Fanny's and his inheritance, is forced to get a job, and is caught embezzling from his employer, Mr. Skeffington, who is smitten by Fanny. Why, I have no idea.

So forget the synopsis that says "Popular and beautiful Fanny Trellis is forced into a loveless marriage with an older man, Jewish banker Job Skeffington, in order to save her beloved brother Trippy from an embezzlement charge". That is not what happens. Job Skeffington tells Fanny he will give Trippy time to repay the debt, and then months go by and he hasn't brought the subject up again at all. When Fanny finds out that Job is the secret admirer who commissioned a painting of her, SHE pursues HIM for marriage - not that he is anything less than enthusiastic - and she does it ONLY to save her brother.

But then the weirdest thing happens. Trippy has been angry at Skeffington because HE stole from Skeffington and got caught. He is even angrier when he finds out Fanny married Job and rescued him and packs off to England to fight in WWI, which the US has not joined yet. So the Skeffington marriage limps along on four square wheels for a couple years. A daughter is born that has none of mom's looks and most fortunately, none of her lack of character. Then the notice comes that Trippy has died in the war, and now Fanny completely ices out Job. There is the eventual divorce. Mom packs off little Fanny to live with her father so as to be able to maintain her active dating life without a reminder of how old she actually is.

And then comes the day when Fanny contracts diphtheria while out on a sailing outing with a beau twenty years her junior. And diphtheria is no beauty treatment. Post diphtheria Fanny is balding, wrinkled, and matronly figured. I have no idea how diphtheria gives you osteoporosis, but from her posture, that's what happened. And now Fanny finds out what exactly she has in male interest and personal character without her beauty - zip, zilch, nada.

Maybe this is a pretty conventional story, but Bette Davis is really great as Fanny. The makeup and fashion department have to be given credit here too. Ironically, Bette Davis was a knockout in her 20s and early 30s, but her looks fell apart in record time. She was already going downhill by the time this film was made, in 1944. Yet she truly looks mid to early 20s in the first part of the film. And she truly looks 45-55 in the last part of the film.

WWII is brought into the plot of this film in a sideways sort of way, and it is refreshing to see a film made during wartime that does not get oppressively patriotic. Claude Rains excels as the used and abused financial wizard Job Skeffington. He is endearing as the loving father and the rejected husband. And yet he is not overly melodramatic. In fact he injects quite a bit of subtle humor into the role. Honorable mention to Walter Abel as George Trellis, Fanny's and Trippy's cousin, who must have gotten down on his knees every night and thanked his lucky stars that in spite of common grandparents, he has nothing in common with either of his cousins.

Highly recommended.

Watching "Mr. Skeffington" again, after not having seen the film for a while, one thing comes perfectly clear, the adage about love being blind never made more sense than what we witness Job Skeffington feel for his wife Fanny. His was a love like no other one; knowing she did not love him, he spent a lifetime to love her unconditionally until he loses his vision and can't see her dear face, which by that time is not the same as the young beauty he fell in love with and married.

Vincent Sherman's direction of this film, based on Elizabeth Von Armin's novel, makes it a classic that endures the passing of time. Sure, it's pure melodrama, but as a film, "Mr. Skeffington" makes perfect sense because of its timeless story. It helps too that the black and white cinematography by Ernest Haller is in pristine condition. The music score one hears in the background by Franz Waxman enhances the movie.

Bette Davis and Claude Rains had an easy way to compliment one another's work. It comes as no surprise these two actors made a tremendous contribution to the finished product as they are the only reason for watching the film. Bette Davis, with her enormous and expressive eyes is at the center of the story; a society beauty that was much in demand in her youth, sees her good looks fade as she ages in front of our eyes.

Claude Rains is the generous man who falls in love with Fanny, even though her brother has swindled money from his firm in order to keep living in the style the Trellis family has been used to. Mr. Skeffington being Jewish has to endure all the prejudice directed at him.

The supporting cast is excellent. Walter Abel, Marjorie Riordan, John Alexander, and the rest do a good ensemble job backing the principals.

"Mr. Skeffington" will delight all viewers.

Bette Davis was an actress. She did not play herself over and over but reinvented herself in each film she made. Mr Skeffington is curiously names after Claude Rains character Mr Skeffington, like Dorothy Arzner's Christopher Strong, a film about Cynthia Darrington ( Katherine Hepburn). Davis plays a Fanny, a woman of less than average intelligence, one afraid of being a woman, mostly because of the attention paid to her by ridiculous suitors, and a life spent in sucking up to them and learning how to get what she wants because of their stupidity. Finally she is truly loved by Mr Skellington (Claude Rains). Nevertheless she still feels embarassed having a baby so she goes back east to hid her growing body. Whatever made her into the fragile and distant creature she truly is underneath her silly flirtations and airs, she realizes in the end the shallowness of her fan club and the true love of the man who loves her no matter what. She conveys the bunglings of a woman caught up in her appearance and the futility of living as an image brilliantly. Well done Bette! You still outshine all actresses living!