Vitória Amarga

When Bette Davis was in ball buster mode, watch out!! But when she decided to suffer nobly, she could suffer with the best of them.

In "Dark Victory," Davis plays a woman dying from the deadliest of deadly diseases---the vague, unnamed illness that beautiful actresses died of in movies from the 1930s. The symptoms never seem to be the same, but they're always tear-inducing. Here, they make Davis go blind and we know when the disease is getting worse because a fuzzy black halo begins to appear around the edges of the frame.

Actually, this movie is a rather pale companion to the ultimate Davis melodrama, "Now, Voyager." But it has perhaps my favorite line ever delivered in a Bette Davis movie. She's found out that her illness is fatal, and she's at dinner with the doctor who has kept this from her to protect her fragile soul. When the waiter comes to take her order, she says, "How about a nice big helping of..." pause, as she throws the most withering of withering stares at her companion ..."prognosis negative." That should really be on a bumper sticker somewhere.

As for the other actors.....wait, other actors? No one watches a Bette Davis movie to see other actors. I'm not even sure there were any other actors in this movie.

Grade: B

Judith is a wealthy Long Island society girl given to a dizzy lifestyle… Self-assured of her affluence and her faculty over men, she is unprepared for tragedy, which strikes in the form of a brain tumor… The underlying bravery and courage with which she faces this physical suffering eventually demonstrates the woman of substance that she is…

Among her friends is Ann King (Fitzgerald), her secretary, and handsome young Alex Hamm (Reagan), who directs her toward brain specialist Dr. Frederick Steele (Brent). The doctor diagnoses her illness as one which will end her life within a year… Judith falls in love with him and accepts his proposal of marriage… When she discovers that her tumor is calamitous, she rejects the doctor's proposal considering it an act with compassion…

Davis provides scene after scene with the special magic only she was able of bringing vividly…

Swept into the current of events was Bogart playing an Irish horse trainer, who fails in an attempt to make love to her, yet encourages her to enjoy her time with her true love, George Brent…

The film was remade in 1963 as "Stolen Hours" with Susan Hayward, and as a 1976 TV movie under its original title with Elizabeth Montgomery

Bette Davis always cited this as her favourite role: it is probably on a par with Margo Channing in ALL ABOUT EVE as the part which fans identify with as definitive Davis. Naturally, this 1939 film will look a little musty, corny and cliched to modern day viewers, but the poignant sincerity in which Davis instilled via her magnificent performance still has the ability to leave the viewer in helpless tears: you can be dumbfounded to think that something so obviously aimed at your tear ducts could succeed to induce the flow so completely and spontaneously! The role is based upon a 1934 play in which Tallulah Bankhead flopped. The character of Ann King was written especially for the film by director Edmund Goulding: as a kind of Greek Chorus so Judith wouldn't have to complain about the inevitable. Geraldine Fitzgerald, in her American film debut, does a wondrous job with the part of Ann: a beautifully etched supporting performance. As Michael O'Leary, Humphrey Bogart is unfortunately inept in the Irish brogue department (why couldn't they have simply cut out the accent?) and George Brent is adequately wooden as Dr. Frederick Steele whom Judy marries. Davis slams through a gooey collection of cliches in her nerviest style during the early segments but her metamorphasis into a vibrantly humbled married woman is quite a striking contrast to the selfishly brazen spoiled heiress: truly a multi-faceted performance. Ronald Reagan gets to play Alec, one of Judy's drunken swains, and Cora Witherspoon is memorable as the snotty Carrie. The last twenty minutes of the film are expertly crafted and timelessly tear-jerking: the movie sold more kleenex than any other of its day.

By today's standards, "Dark Victory" might seem cliched. Of course, that could be because it was so greatly copied! Here is Bette Davis, a star in the fullness of her talent and ability. Bette simply shines; she owns this film from first frame to last. Ably supported by a wonderful cast (including a somewhat mis-matched Humphrey Bogart as an Irish-brogued horse trainer), it is still difficult to watch the film and not be constantly anticipating Bette's appearance in any scene she isn't in. The ending, even in those days, might have turned out either wimpy or waspish. In Bette's hands, it is neither. It works in a way that literally drains one of emotions. I might also add that, while revealing only a bare back, Bette shows more sensuality than a dozen of today's more "open" actresses.

There is an old disparaging adage about "showing the full gamut from a to b," in this movie Bette not only shows A to Z, but some letters that haven't been invented yet.

Despite my gushing over Ms. Davis, the film is solid in all departments. If you wish to experience when melodrama is great movie-making, see this film.

You've been feeling somewhat ill, and just not with it, your vision gets quite blurred, but you admit it, so it's off to see the doc, though you're in for quite a shock, an operation is required to get you fit. You start to mend, but there's something new you feel, seems you've fallen for the man who's made you heal, emotions at a high, but there are things you've been denied, then indiscretion leads you to a big reveal.

There's some racy dialogue to contend with, but the performances of both Bette Davis and George Brent are divine, in what is not your typical boy meets girl story of the time. You also get the added bonus of Humphry Bogart, although his Irish brogue would never earn him any rewards, and a future President provides some small support.

A film of its time but plenty to enjoy still today.